Despite the repression, the creativity of filmmakers in this country has never been lost; in fact, there are signs that the industry might flourish once again if freedom returns to Burma—at least that is the message gleaned from the uncensored award-winning movies at the Art of Freedom Film Festival in Rangoon, which was held from Jan. 1 to Jan 3.
Organized by pro-democracy leader Aung San Suu Kyi and comedian activist Zarganar, the festival, the first of its kind in Burma, chose the top five out of 188 submitted short films for a prize-giving ceremony in Rangoon on Thursday, Burma's Independence Day.
The movies, which were shown free of charge to Rangoon audiences, depict some of Burma's real life stories under military oppression. The 35-minute movie, “Ban That Scene,” was voted “Best Film” by audiences. It satirizes film censorship and corrupt officials within the censorship board, in whose office hangs a sign which reads, “Eye Everything With Suspicion.”
The movie devotes much of its attention to scenes where a group of government officials from the state censorship board, the ministry of religion, and the ministry of health watch uncensored movies together, and begin arguing about which parts should be banned. Set in a tongue-in-cheek manner, the state officials are depicted as obtuse and self-righteous; they decide to censor scenes of beggars, of girls in mini-skirts, and of characters complaining about power cuts. The ministers reason that those characters “degrade the dignity of the state.”
A 15-minute film about a young Karen photographer, “Click in Fear,” was awarded the title of Best Short Documentary. It tells the tale of a photographer who bravely documents with his camera the violent crackdowns on anti-government protesters in 2007. The man, Law Eh Soe, was forced into exile in the US to flee arrest. His photos of protesting Buddhist monks were widely used by the international press, particularly one iconic picture showing a young monk holding an upside-down alms bowl in the air—a sign that signifies boycott in Burmese eyes. “I can't feel happy about my success because I still don't know where that young monk in the photo is now,” the young photographer said tearfully in the film, alluding to the possibility that the young monk might be one of many political prisoners in the country.
“I am encouraged by the films and I wonder how long these filmmakers were waiting for a chance to make these movies of freedom,” wrote Zarganar on his Facebook page. He also expressed his deep frustration over the Tuesday government clemency that saw the release of just over 30 political prisoners while several hundreds remain behind bars. I expected that I would celebrate this film festival with my colleagues freed from prison, but now I wish to change this festival's name to the Festival of Captivity,” he said.
In any case, most artists and observers of the arts are encouraged that in allowing the festival to go ahead, the government's hardline stance toward film-making may be softening as part of its reform program. Many see the festival as a heartening sign, but say they will remain unconvinced until there is a clear relaxation of rules at the state film and video censorship board. One thing is for sure—movie producers, both Burmese and foreign, will have a plethora of scripts to choose from when they finally begin documenting the four decades of military era on film.
2012.01.05 The Irrawaddy -Uncensored Films Finally See the Light of Day