My Grandfather’s House

This house is much more than just a roof over our heads“, reflects an adult woman about her old wooden house. It was once a meeting place for some of the architects of Burma’s independence movement, in which her grandfather played a pivotal role. His traces, thoughts and his spirit are still present in the house in which she lives with her family. The film captures the important remembrances imbued in socio-spatial and material relationships that are passed on to next generations. The director, Shunn Lei Swe Yee, is a young filmmaker and she is active in women movements in Myanmar.

In cooperation with Goethe Institut Myanmar and SEZ – Stiftung Entwicklungs-Zusammenarbeit Baden-Württemberg

My Leg

The long lasting, continuous civil war in Myanmar has left its traces and injuries on the human body and soul, as well as on society. Since 2007, almost 800 prosthetic legs have been produced in a workshop run by disabled veterans. Injured ex-soldiers of the Burmese Army and ex-liberation fighters work together to help amputees. The film does not only portray the work of the disabled craftsmen, which gives them hope and strength to deal with their situation, it tells the story of solidarity in a space where ethnic boundaries and former rivalries are left behind and appear senseless - like the war itself. The director, Khon Soe Moe Aung, is a human rights activist and young filmmaker, who was introduced to filmmaking during a Yangon Film School course. MY LEG is his first documentary film. Currently, he is working on a feature-length documentary.

In cooperation with Goethe Institut Myanmar and SEZ – Stiftung Entwicklungs-Zusammenarbeit Baden-Württemberg

Tyres

What makes a tyre a tyre, and what is crafted out of the many worn out truck tyres? The film delves into the art of recycling tyres in Myanmar’s former capital. The dismantling, reordering and transformation of tyre materials into new products offers beautiful insights into the flow of work, the skills of craftsmen and women, socio-material interactions and creativity. Captured with a close observational camera and the aesthetic look of black and white images, the film closely follows the daily rhythm of work of tyre recyclers. Each of them is specialized in a certain product made out of tyres. Kyaw Myo Lwin joined the Yangon Film School in 2007 where he has since worked as sound recordist and editor on several films. TYRES was his directorial debut.

In cooperation with Goethe Institut Myanmar and SEZ – Stiftung Entwicklungs-Zusammenarbeit Baden-Württemberg

Sweetie Pie

Shot in observational style in one room, the short portrait tells us about the interactions between a little grandson and his old grandfather, who takes care of the young one. It is an intimate relationship of joy, love and humor, which sometimes can be stressful for the old. The director, Sai Kong Kham, is a student of the Yangon Film School and SWEETIE PIE was his first film as director.

In cooperation with Goethe Institut Myanmar and SEZ – Stiftung Entwicklungs-Zusammenarbeit Baden-Württemberg

Ice Poison

Ein junger Bauer und sein Vater können sich mit den mageren Erträgen aus ihrer Maisernte kaum über Wasser halten. Um sich bei Verwandten, die in Jade-Minen oder auf Opium-Feldern arbeiten, Geld zu leihen, wandern sie von den Bergen ins Dorf. Doch fehlende Papiere, Betrug und Korruption haben auch die verarmen lassen. Schließlich verpfändet der Vater seine Kuh für ein Moped, damit sein Sohn als Taxifahrer ihr Leben finanzieren kann.

Der erste Fahrgast ist Sanmei, die nach Myanmar zurückgekehrt ist, um ihren Großvater zu beerdigen. Sie beschließt, nicht nach China zurückzugehen, sich aus ihrer arrangierten Ehe zu lösen und mit ihrem Sohn in der alten Heimat neu anzufangen. Als Sanmei einen Job als Drogenkurierin annimmt, lässt sich der junge Bauer überreden, ihr Fahrer zu werden. (Panorama, Berlinale 2014)

In einer präzisen Chronologie verfolgt der Film den Weg eines Bauern in die Stadt - eine Odyssee mit wenigen tröstlichen Stationen. Wie ein moderner Bresson aus Asien, mit klarem Blick auf die Ökonomie der menschlichen Beziehungen und die Fatalismen des Kapitalismus, erzählt hier ein junger Burmese vom Scheitern in der Stadt.

Preise: u.a. Best Director, Taipei Film Festival; Best International Feature, Edinburgh Film Festival, Academy Award Nomination for Foreign Language Film (Taiwan)

 

Midi Z

1982 geboren in Myanmar, Regiestudium in Taiwan. Seine Debutfilme RETURN TO BURMA (2011) und POOR FOLK (2012) liefen erfolgreich auf zahlreichen internationalen Festivals. 2013 nimmt er am Omnibus-Projekt TAIPEI FACTORY teil, welches auf der Quinzaine des Auteurs in Cannes Premiere hatte. THE PALACE ON THE SEA (2014) erzielte eine Nominierung für den Tiger Award. JADE MINERS (2015) ist sein erster Dokumentarfilm.