Humans have always been fascinated with death, especially with what happens after we die. Almost all religions have their versions of heaven, hell, and the soul’s journey to the afterlife. But what about the souls who are having trouble moving on? Where do they wander? In The Long Walk, Mattie Do explores that world with a story that blends tragedy with guilt, regret, and the bonds of memory.
Set in the near future, an Old Man (Yannawoutthi Chanthalungsy) lives in solitude on the outskirts of a small village, selling scrap metal to survive. Payment is done with a chip implanted in his arm. Do makes a point of the fact that this world is still filled with economic disparity and highlights how the advancements of the future never make meaningful change for those living in the lower class. The Old Man has never gotten over the death of his mother, which has left him lonely and regretful. This tragedy has led him to some bad choices as we soon discover his real work: The Old Man performs mercy killings to relieve people from their pain and misery and then buries them near his shack. With their life cut short, they transform into spirits and wander the land forever.
The Old Man is accompanied by a spirit (Noutnapha Soydala), who hasn’t uttered a word to him since he held her hand as she died 50 years ago. All she can do for him is transport him back to his childhood house where he lived with his ailing mother and bully of a father. With the scar of watching his mother die of lung disease tearing at him, he decides to intervene and interact with his younger self in order to change her fate.
Do captures the story in an ominous atmosphere, making her own rules as the audience tries to work on the ramifications of the decisions taken by the Old Man. It is a slow burn that takes on a journey to death in the most heartbreaking way. It scoops the burden of guilt, carrying off the long road from childhood carried into adulthood. The self-reproach doesn’t go away and it only makes moving on that much harder. This fact is made even more frustrating when you realize you can’t change a thing even if you are let back in.
Do almost gets close to achieving her cinematic revelation only to be slouched by some choices she makes along the way. The introduction of two policemen and the Americans in the Old Man’s journey in the present and past never leads anywhere. Rather, it just becomes a drag in an already mind-bending structure. Do’s attempt in contrasting genres takes a round journey for the Old Man, tapping into dark and violent corners. But those decisions soon reveal uncomfortable truths, triggering baleful realities that make the old man take The Long Walk by liberating himself and finding the strength to let go of his past.
The Long Walk feels more personal when it is exploring the pain of moving on for both the living and the dead. Do’s exploration of the future where the poor are still surviving by the thread feels accurate to real life, where technology becomes more privileged and reserved for those who have money. Do’s vision is supported by a strong leading performance from Chanthalungsy, who leaves a lasting impression that stays long even after the credits start rolling in.
