Lessons in Expatriate Filmmaking - The New York Times It is surprisingly boring to watch a movie being made, on the set or off, and a beleaguered production is not necessarily an exception. The unlovely documentary "Unmade in China" trudges through the setbacks and power grabs that befell the writer and filmmaker Gil Kofman while directing the thriller "Case Sensitive" in China. Tanner King Barklow and Mr. Kofman, who share directorial credit and a friendship, erroneously assume that there's an inherent interest to watching someone else kvetch and wisecrack. Slack storytelling (including snippets from a post-film Q. and A. session) and patchy filmmaking seal the unappealing deal. There's something to be learned about the perils of autocratic producers in a sometimes brutal country, as Mr. Kofman endures incompetent crew members, paycheck delays and arbitrary casting (though, truth be told, the most foreign part of all this is the language). He's allowed to seem unsympathetic, even obnoxious, but the film's attitude increasingly feels like self-involved expatriate bitterness at the expense of the spotty but spottily portrayed Chinese collaborators. That's a natural enough response when someone is stuck in the position of Mr. Kofman, who previously directed the challenging Holocaust-related drama "The Memory Thief." Ending with a neat bit of revenge, "Unmade in China" comes across as a personal salvage job performed on an unpleasant experience, rather than as the gawker's feast its filmmakers might expect and others have better achieved.