Sai Naw Kham

Sai Naw Kham



Sai Naw Kham is a renowned Burmese director and screenwriter. He was born in the small town of Moulmein, Burma (now known as Myanmar) in 1962. He spent his early childhood in a traditional Buddhist family and attended a local high school. After graduating, he studied history and philosophy at Rangoon University.

Sai Naw Kham began his career as a journalist in the late 1980s, working for a variety of Burmese newspapers and magazines. In 1989, he made his debut as a director with the movie "The Wild Dog", which was a big hit in the local box office. This success propelled him to direct other films such as "The Price of Love" and "The River of Tears".

In 2000, Sai Naw Kham made his break into international cinema with the feature film "The Pearl of the Orient". This movie was a critical and commercial success and was screened at various international film festivals, including Cannes.

In 2003, Sai Naw Kham won the Silver Bear at the Berlin International Film Festival for his film "The Last Train", which was a powerful exploration of the lives of Burmese refugees. This movie was also screened at the Sundance Film Festival and won the Grand Jury Prize.

Sai Naw Kham is known for his political films that explore the social and political realities of Burma. His films often focus on the struggles of everyday life and the people’s struggle for freedom and justice. His films also focus on the country’s rich culture and its people’s courage and resilience in the face of adversity.

Throughout his career, Sai Naw Kham has achieved both critical and commercial success. He has received numerous awards, including the Grand Prix at the Cairo International Film Festival and the Critics’ Choice Award at the Ebertfest. He is an admired and respected filmmaker in Burma and around the world.

Sai Naw Kham’s films have been widely praised for their powerful storytelling and beautiful cinematography. His films continue to inspire and educate audiences around the world. He is a visionary filmmaker who has made an indelible mark in the history of Burmese cinema.

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