Loot: A Story of Crime and Redemption, is currently playing to global film festival audiences. Supplied
The latest documentary by Canadian filmmaker Don Millar, LOOT: A Story of Crime and Redemption, is making waves across the globe for its daring exploration of the underworld of the international art market and the criminal network that fueled the looting of Cambodia's ancient temples.
The film, which premiered at the International Festival of Films on Art in Montreal, Canada this month, offers a gripping, emotional and shocking look at how “blood antiquities” found their way into elite art collections, museums and private homes, leaving a devastating legacy in their wake.
Millar, known for his previous films such as A Final Sketch (2024) and Botero (2018), dives deep into the human cost behind these illicit transactions, exploring the devastating gap between Cambodia’s impoverished farmers and the billion-dollar art industry in the West.
The story at the heart of LOOT revolves around British art dealer Douglas Latchford, who masterminded the systematic theft of priceless Cambodian artifacts during the country's brutal civil war.
Using child soldiers and desperate villagers, Latchford’s operation smuggled these ancient relics out of Cambodia, selling them to the highest bidder, often ending up in some of the most prestigious Western museums.
A scene from the film, which delves into the illegal trade in looted Cambodian artefacts, many of which ended up in the collections of the world’s largest museums. Supplied
“I was looking for an art crime story as my new film and read a ‘Pandora Papers’ story about Latchford and thought wow, this is it!” Millar explained.
“One of the writers was Malia Politzer and she played a huge role in developing our film. As time went on, I became more interested in the former looters and witnesses in Cambodia and this really drove how the story was framed and put together,” he added.
The film reveals the horrifying toll these transactions took on Cambodian villagers, who risked their lives to loot temples deep in landmine-infested jungles, earning as little as $20 a week for their dangerous labour.
At the core of LOOT is “Blue Tiger”, a former child soldier-turned-looter, now working with Cambodian authorities to return stolen artefacts to their rightful homes in the Kingdom.
His story, along with the efforts of local investigators and American detective JP Labbat, who organised Operation Indochina Peninsula Plunder which led to Latchford’s indictment, forms the heart of the documentary.
Their tireless work to bring the looted items home is also a testament to Cambodia’s ongoing fight against those who have exploited its cultural heritage.
“It was very emotional and something I thought I was ready for, but I learned so much at a personal level,” said Millar.
“These villagers have been through things the rest of the world cannot even imagine in terms of violence, being child soldiers and the civil war. Now they are helping their country and being redeemed – what a great story!” he told The Post.
Cambodia’s ancient temples were systematically looted by unscrupulous dealers like Douglas Latchford during the wars of the 1970s. Supplied
Millar's access to these firsthand witnesses, including Blue Tiger and the investigators, was made possible thanks to the help of Cambodian filmmaker Makara Ouch, who has spent years giving voice to Cambodian villagers, and the restitution team led by Gordon.
The film’s behind-the-scenes approach provides viewers with an intimate look at the struggles faced by these investigators, many of whom have lived through unimaginable violence and trauma, from being child soldiers to enduring the Cambodian civil war.
One of the film’s most poignant moments is the return of several stolen artefacts from the Metropolitan Museum of Art in New York in July 2024. These pieces, which were stolen decades ago, represent just a small fraction of the thousands of looted works that still reside in Western museums and private collections.
Through LOOT, Millar aims to raise awareness about the enduring impact of art looting on Cambodia’s cultural heritage and the global art market’s role in perpetuating this injustice.
The divide between the lives of Cambodia’s poor and the institutions that profit from these looted treasures is staggering, and the film urges viewers to confront the ethical questions surrounding the art world’s complicity in such crimes.
“The divide is huge, far bigger than I could have imagined,” Millar reflected.
“I hope the film serves as a wakeup call for audiences, a moment to pause and reflect on the human cost of these stolen treasures,” he added.
The ongoing struggle to repatriate these artefacts is a battle that Cambodia has been fighting for decades.
Despite some successes, such as the return of items from prestigious institutions like the Met, thousands of looted pieces remain overseas, and the fight to bring them back continues.
Millar sees LOOT as a source of inspiration, not only for Cambodia but also for other nations confronting similar challenges.
“Cambodia is winning in its own way,” Millar said.
“It’s a wonderful example of what can be achieved with creativity, dedication and the will to make a change. I hope our film can inspire more people to stand up against these injustices,” he added.
