Burmese Movies 2016Myanmar Movies 2016
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A Burmese director investigates same-sex relationships in the new film
Nyo Min Lwin's romanticism between two men,'Gemini', investigates the soil that is only occasionally used in Burma's filmmaking world. Nyo Min Lwin, a well-known filmmaker known for his films outside the majorstream, is working on a subject that is not often addressed in Burma's filmmaking world. Under the title "Gemini", the documentary narrates the tale of a relation between two men, the producer said.
"I plan to make a man-to-man play in the last weekend of January," Nyo Min Lwin commented. Spa ", the director's earlier feature length feature, also addresses the issue of gay and was criticized by Facebook news when the trailers became outbreakable. Okkar Min Maung and Nyein Chan Kyaw play the main masculine figures of the picture and Aye Myat Thu as the feminine figure.
"I am proud to play in the movie because I can substitute for gay and lesbian people in Myanmar," said Okkar Min Maung. The movie is family-friendly and will not contain sexually explicit sequences. However, according to Section 377 of the Burmese Criminal Law, gayness is still an offence and can be punishable by financial penalties and long jail time.
Burma filmmaker Midi Z is continuing his impressing run with a moving play about immigrant smugglers in Bangkok.
Burma resident film maker Midi D is continuing his impressing run with a moving play about Bangkok's migrants. The Taiwanese film maker Midi D is producing his best work so far with "The Road to Mandalay". After the documentary films "Jade Miners" and "City of Jade", Zen focuses on exiled people from Burma with a reticent, effective romance about two illicit migrants with very different notions of making a living and a new one.
Well played by Z's normal Wu Ke-xi and the incumbent Taiwean actor Kai Ko ("You Are the Apple of My Eye"), "The Road to Mandalay" will surely be travelling far and far after a famous hat-trick of selection in Venice, Toronto and Busan. This is a good example of a film maker who sticks to his job and constantly improves with every trip. He has eradicated the extra-long recordings and snuck into his early films "Return to Burma" and "Poor Folk".
After his great jump forward with "Ice Poison", Midi Z has now created a tautly cut and emotional worthwhile play that places him at the top of the Asiatic realist world. Burma's only part to be seen here is a river bank on the Thai frontier, where the foreigners Lianqing (Wu) and Guo (Kai) are taken to the other side and put in a truck to Bangkok.
In very little dialog T draws a stereotypical image of how the despair of those who flee conflicts and live in poor countries and the opportunityism of dirty civil servants immortalize human-trafficking. Lianqing follows him to a fabric plant where no questioning is asked. As Lianqing is not able to provide the necessary documentation, he is obliged to work as a professional dish washer.
It doesn't take long before she is apprehended in a policing operation and cheated by fraudsters and bent officers who promise to deliver "real" working papers. Lianqing enters Guo's staff in pure despair. Lianqing just won't give up even with apparently insuperable chances. Lianqing's slim and effective script hosts Lianqing's fight within the bigger image of Bangkok's informal business where work and living are low.
Disenchanted by the impasse abroad, he wants to go back to Burma and begins to talk about it. Cameraman Tom Fan's and publisher Matthieu Laclau's exceptional contribution (the Jia Zhangke shot feature "Mountains May Depart" and "A Touch of Sin") make a major contribution to the road to Mandalay's much acclaim.