At Yangon Film School, Myanmar’s first and only film school, young documentary film-makers courageously ignored the Burmese rules of the game at a time when pushing the limits was still harshly persecuted by the military regime. In 2008, cyclone Nargis hit the country causing more than 140.000 deaths and affecting the lives of about 2million people in the Irrawady Delta who were long left without any governmental support. Ignoring a media ban, the filmmakers set out undercover to keep records of the situation in the affected areas. medico gave the team quick financial support for their project.
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It has now been four years since the devastating storm, but also four years since constitutional changes have ushered a transition towards more political freedom for the Burmese. Nonetheless, it was only in September 2012 that the filmmakers were able to screen their internationally renowned documentary „Nargis, when the world stopped breathing” in their home country, when they organised Myanmar’s first documentary film festival supported by medico and others. Only then their real names were revealed in public. In our interview, Myo Min Khin, the editor of the film, recounts the story of this extraordinary film and gives account of the current situation from an artist's and an activist's point of view.
“Your film 'Nargis, when the world stopped breathing' cautiously displays the situation of the victims in the days and weeks after the disaster. It lacks any political accusations. Why was it not possible to show the film in Myanmar for such a long time?”
“In the film people are not really talking about politics. You wouldn't see anyone blaming the government. However, it becomes evident that the government did not give support to the victims. That was why the government was so afraid of the media and did not grant access to the area to any journalists or film-makers at that time. The images themselves are a kind of blame to the government.”
“When did you come up with the idea for the film?”
“After Nargis, we had absolutely no news from the region. It was only one week after the storm that we heard how grave the situation really was. We felt the urge to help the people in the delta, but had no experience in relief work as such. So we decided to record what was going on - without knowing what to do with the footage.“
“I have heard people commenting that Nargis and the way how it exposed the regime’s deficiencies fostered the transition process. How do you feel about this?”
“I also feel like this. Our current president was part of the crisis committee which was finally set up after about a month to give relief to the victims of the desaster. Maybe it was when he saw how bad the situation of the people in his own native region was, that he understood that there had to be a change. However, the political situation in general was difficult at that time, as the country was so highly indebted. Debt, I suppose, was the main driver of the reforms and the new constitution that had been announced earlier in 2008. But to be frank, in 2008 we did not take the constitutional reform seriously. We didn't believe it was going to change anything. We didn't expect this.”
“If you compare the situation in 2008 to Myanmar today, what has changed?”
“A lot! Take my case for example: In 2009, I was taken to jail because they had found out about my filming and publicising of the monks' uprising in 2007. Luckily, it was only then they found out about it, because theses cases used to be sued with seven years of prison without any exceptions. I myself was released after 40 days. This is what the transition process brings about. (Mind you, it was still more than enough time in prison!) However, we need to stay cautious. My impression is that within the elite, one group wants to take on the path towards democracy, while the other one is pushing backwards towards dictatorship. It is still not decided. The recent protest against the copper mine in Monywa and the government's violent response to it tell more than words about the situation. So we have to stay alert. Many business-people depend on the old leaders. They got good business opportunities back then. Now they have more competition. Everybody gets permissions for business and that worries them a lot. Within the business elite many are not supporting the transition process.”
“Do you know what the situation of the people in the Delta is like today?”
“I know that it is much better and I wished to be able to go there and document how it has changed. We also know that nothing ever happened to any of those people featured in the film. We would like to show the film there, but haven't been able yet. Actually, we are planning to organise a mobile cinema or travelling film festival to show our films in many different places in Myanmar.“
“Having seen some of the documentaries at your public screening, I really think yours are brilliant films. I was just left with one question: Are you able to reach out to many people in Myanmar with these films?”
“We are not widely distributing them here. There is no market for these films. So we don't really reach out to many people. Some of the films shouldn't be shown within the country either, as they contain confidential information about some people. For example, it was mostly to protect the people from the delta who are shown in ‘Nargis’ that we kept low profile until very recently. Also, not everyone is interested in these kinds of films, but whenever I make a film, I don't think about who will like it and who won't. I want to make real films and show real emotions.”
“In what ways is the transition affecting your own work as a film-maker?”
“We were allowed to organise the Wathan documentary Film Festival this autumn and there was no censorship. Also we had the possibility to screen Nargis this year and people liked it. I was very happy to be able to finally show the film to a Burmese audience. Many people from the film industry came to our film festival, but also common people, NGO staff and government staff. Everyday, two or three people from the government came to ask us questions and report about it, but they didn't interfere. However, even if there is no more censorship, they are still in control, as they are the ones to give permissions or not and they are taking detailed records of our work. So we need to be careful. There might be some traps. “
“Now that you have shown the film in public here, are you not afraid of a backlash?”
“It all depends on my luck, I guess, but I had to take the risk. We had to show the film this time.“