Supporting independent cinema in Myanmar

“Myanmar has tons of stories to tell”

In the Maung family, filmmaking has been passed down from father to son. Okkar is no exception. Having featured in some of his father’s films, Okkar attended a course in film studies at Yangon Film School. He then moved behind the camera and began to direct his own films. 

“I try to draw on my own experiences in my work. After decades of military dictatorship, the people of Myanmar have tons of stories that have been locked away and never been told. I wanted to uncover these accounts and turn them into art films,” explains Okkar. 

“It’s an incredible opportunity to be part of Open Doors. It’s given me the chance to meet other professionals from around the world and will allow me to draw on this experience in all areas of my work as a director – from writing to pre-production and filming through to post-production.”

Upholding a tradition

Myanmar has a cinematic tradition that is almost one hundred years old and began in the 1930s. At the time, cinema was flourishing in the country and provided an outlet for many schools of thought and various political, social and cultural views. Strict censorship was imposed following the military coup in 1962. However, since 2011, the country has witnessed a slow transition towards democracy. 

“Unfortunate political changes have had a profound effect on cinema in Myanmar. This is the right time to revive it,” highlights Okkar. 

“Film production in Myanmar receives no subsidies from the government or local organisations. The crews work hard. We have fascinating stories to tell and talented actors and actresses. Our films have an unique aesthetic quality and style. However, Myanmar’s film industry has a shortage of professionals. For many years, Myanmar had neither a film school, nor a company leasing equipment, nor even a production company. An obsession with profit also prevented quality independent cinema from flourishing. 

Our film industry once had a golden age. As a young director, my mission is to do my utmost to make the best possible films.”

“Conveying the flavour and culture of Myanmar to the rest of the world”

May Zin Myo manages the Pan Wai Wai company that produces Okkar’s films. She would like to produce films for an international audience while conveying something of the flavours and culture of Myanmar. 

“It’s important for me to take part in Locarno’s Open Doors section. It allows me to connect to an international network. It’s not easy to produce a film. To ensure quality, our crew needs professionals for every stage of the production.” 

May Zin sums up the importance of cinema for Myanmar’s society. “Cinema is a mirror to a country, its culture, traditions and politics. If we can improve our film industry, we will be making a contribution to developing our country as a whole. Films are more than just entertainment. They help to educate people. 

As a young producer, I am doing everything I can to contribute to my country’s cinematographic creativity,” she explains. 

What can cinema do for freedom and democracy?

Delivering cultural initiatives in developing countries helps to promote democracy on the ground. Switzerland has a long tradition of supporting arts and culture in partner countries. Promoting independent cinema encourages freedom of expression and contributes to peacebuilding and sustainable development. 

In addition to its Open Doors partnership, the FDFA also supports Yangon Film School through the Swiss Embassy in Yangon’s cultural programme. Switzerland is helping the school develop its own financing plan. Funds have also been allocated to restore Myanmar’s oldest surviving original film negative (Mya Ganaing/The Emerald Jungle, 1934).This film will be screened at Locarno.