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RAI FILM
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About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
RAI FILM
Login
Facebook
Instagram
Twitter
About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
Menu
About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
Login
Facebook
Instagram
Twitter
Films
found one film
shorter than 40 minutes
x
Region
“South-East Asia”
x
Keywords
“Family Kinship”
x
Directors
“Htway, Aung Nwai”
x
Year of production
“2012”
x
Colour / Black and white
“Colour”
x
short films
1
x
Region
South-East Asia
1
x
Country
Myanmar
1
Keywords
Family / Kinship
1
x
Film / Photography / Mass media
1
Memory
1
Directors
Htway, Aung Nwai
1
x
Series
Yangon Film School
1
Country of production
Myanmar
1
Year of production
2012
1
x
Colour / Black and white
Film
Behind the Screen
2012
35
‘
Directed by
Aung Nwai Htway
.
A son dissects his parents’ marriage – they were film icons in 1960s Myanmar. It turns out the heartrending scenes they acted out on the silver screen are a pretty accurate reflection of their real lives. While the camera slides across the glamour photos from their heyday, the filmmaker looks on, entranced. He grapples with the incredible fame of his parents. Now that he is reconstructing their relationship, he sees the old film footage through different eyes – as if it might contain the answers he didn’t get as a child, when his parents separated. This merging of family history and film excerpts creates a magical mix of fact and fiction, or ‘the real and the celluloid wedding’, as the son calls it. The son’s public revelation of how things went wrong is an emancipatory act, as divorce is still a big taboo in Myanmar.
South-East Asia
Film / Photography / Mass media
Family / Kinship
Memory