焦點單元｜時代的隱喻：名為緬甸的真實

緬甸獨立電影在極少資源、極大限制下，透過在地影展、電影教育機構等途徑串連，逐漸發展出以「集體」為貌的電影社群。然而，這個國家多次政治動盪，對一切影響甚鉅，令現實日趨複雜。

本單元以近年新作為主，往年舊作為輔，展映26部跨類型的緬甸電影，柔和的電影語言中，總藏著多層次的隱喻，訴說著難以直接描述的故事，如心情日記、前線紀錄、未來狂想、音畫實驗等等。創作者們皆以獨特視角與語彙，記錄外在現實或訴說內在感受，時而直接，時而抽象，所謂「真實」在眾多作品中瞬息而現，是回應時代的行動，也成為時代的隱喻。

在這樣的角度與脈絡下進行反思，就積極意義來說，電影不只是電影本身，而更接近名為緬甸的真實。

TIDF專文｜時代的風景，緬甸的真實

特別感謝：瓦旦電影節

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【2024 TIDF】焦點單元｜時代的隱喻：名為緬甸的真實 Focus Programme｜Metaphor of the Times: The Reality Named Myanmar

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Yangon the City Where We Live

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Train

A journey of self-discovery on the Yangon circular train.

The Clinic

In an impoverished outskirt of Yangon where the healthcare needs of the neighbourhood is great, a doctor tries to deal with the patients' problems and also his own.

'This is one of my very first films, I had a coworker, Jeu, who used to do photoshoots at weddings. He followed me around with a camera. And a Yangon Film School student, The Maw Naing, who started learning editing.

Once Upon a Time There Was a Mom

Following his wife's death, the father regresses to his son's age. Metaphorically, the film depicts the history of Burma by juxtaposing it with the Vessantara Jātaka tale.

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In the aftermath of Myanmar's military coup, life under the junta's terror has remained largely hidden from the world's cameras. In an act of resistance, the anonymous Myanmar Film Collective created a film blending reality and fiction, featuring first-person perspectives and chilling citizen journalism footage.

Three Strangers

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Green Is Liberated Color

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Again and Again

Life is a cycle. When we die, we are reborn into a new life. This is a film heading slowly toward ‘zero point zero’.

Comradeship (rough cut)

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Focus Programme | Metaphor of the Times: The Reality Named Myanmar

Despite the minimal resources, significant restrictions, and repeated political upheavals, the independent film scene in Myanmar has gradually developed as a unique community with creative vitality through local film festivals and film education institutions.

This programme features 26 diverse films from Myanmar, dating from 2009 to 2024. Beneath the soft cinematic language lie layers of metaphor. These films tell stories that are difficult to express directly. Filmmakers convey inner feelings or document external reality in the form of personal diaries, frontline records, futuristic fantasies, audiovisual experiments, and more. Direct or abstract, the so-called 'reality' flashes fleetingly in numerous works, serving not only as responses to the times but metaphors of the times. Thinking under such context, in a positive sense, cinema is not merely cinema itself, but closer to the reality named Myanmar.

TIDF Article｜LANDSCAPE OF THE TIMES: REALITIES OF MYANMAR

Special thanks to the Wathann Film Festival.