Using that formula, the industry is growing. It’s the safest way to get pass the censors and avoid offending the all-powerful military. Instead, moviegoers are fed lowbrow fare by a tawdry film industry, with movies revolving around stock plots and themes and functioning as little more than vehicles for a handful of well-known actors. But it has still not been shown in its home country because its realistic portrayal of monastic life is at odds with the romanticized view of Buddhist clergy preferred by the authorities of this predominantly Buddhist nation. The Monk (2014), by independent filmmaker The Maw Naing, is one of the few films of quality to have been made in recent years and has been warmly acclaimed on the international festival circuit. Instead, the ruling National League for Democracy (NLD) left much censorship apparatus in place. Since then, many of Myanmar’s 135-plus ethnic groups have chafed under military rule, with some even taking up arms.Īlthough the junta was replaced by a military-backed civilian government in 2011, the expected renaissance of local cinema has not materialized. The architect of independence, Aung San, belonged to the majority Bama people, and had agreed to a federal system of government with the leaders of other ethnic minorities-but he was assassinated before the agreement was implemented. Minorities are seen as easy targets in a Southeast Asian nation that has been bedeviled by racial tensions ever since its independence from the British in 1948. “There is a psychological injury being done to ethnic minorities,” Khun Lwici tells TIME.
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