Some years ago, Seasonal
Rain director Aung Phyoe came together with a group of friends to start a
blog featuring creative writing. The stories written by Kyi Aye, an acclaimed
modernist writer in Myanmar, were a favourite. The group would type her
writings out from magazine scans and put them up on the blog. It was then that
Aung Phyoe came across Kyi Aye’s short story “Seasonal Rain” and fell in love with
its cinematic quality. “I was in my last year at film school and dying to make
a short,” Aung Phyoe told SINdie, “So I contacted the writer’s family and asked
for permission.”
Seasonal Rain is one
of three entries from Myanmar screened at the 2019 SeaShorts Film Festival. It
is the coming-of-age story of a young woman Aye Aye (Nyo Thu Nwe) catalysed by sudden
rain on a day out. In a present-day Yangon setting, the subtlety of Aung Phyoe’s
storytelling and the reticence of the characters appear almost anachronistic.
“Well, I love films by Naruse Mikio, the Japanese master and
get influenced by him. I tried to convey what I want to say without being too
obvious.”
“But the filmmaking style is influenced by Indian masters
like Satyajit Ray, Ritwik Ghatak and Mirnal Sen, where I use too much track
shots. Later I realised some are not necessary,” Aung Phyoe added.
The shots in Seasonal Rain
are thoughtfully composed. Aung Phyoe has a keen eye for layers and
continuity. He is mindful of stylistic impression, but less so of emotional
nuances, which makes the portrait of a young woman less vivid.
We asked Aung Phyoe what he enjoyed most about the filming
process. He said, “Since it is my first short film, I just did it as I wanted
to. Two of my film school friends from India came down to Yangon, and with the
help of my local friends we shot it. I love this freedom, everything as I
wanted to without questioning myself why.”
Seasonal Rain was
well liked by the audience in Myanmar. Aung Phyoe was surprised that everyone
from Myanmar said they preferred Seasonal
Rain to his second film Cobalt Blue,
which he found more sophisticated. Perhaps it was its simplicity that made Seasonal Rain down-to-earth and refreshing!
“It is difficult for independent
filmmakers in Myanmar, as everywhere,” Aung Phyoe observed, “But in
recent years, there are a few hard-working producers who want to produce short
films by young filmmakers.” Without government support though,
it is difficult for young filmmakers to make feature films of the mainstream format.
Myanmar’s local mainstream
film industry is doing well, Aung Phyoe told us. However, “storytelling is
mostly the same old thing.”
“But I am hopeful as the new generation of filmmakers is trying to make
an impact at the international festival circuit as well as the local domestic
market – we could set up the Myanmar New Wave soon."
Written by Teenli Tan