While we enjoy our status quo as being the strongest co-operate film productions in Myanmar, we also assist with the nascent local independent film and documentary productions as well as mainstream film productions that aim to achieve much-needed artistic quality in the local film scene. To foster the local independent film spirits, we provide technical supports for some indie film productions by the budding and energetic new generation of local filmmakers. During the last few years, we have landed technical assistance to the feature-length films like Mudras Calling and Nashira Sadachbia. Miracle Post also either co-produced or collaborated with some local short films like Enter, Home, Behind Mask, 528, Sir, and Forgiving Sky that have been shown at various international film festivals.
|Language:||In Burmese with English subtitles|
|Written & Directed by||M.Noe|
In a dystopian future, the Earth has stopped rotating and the Asia region is constantly facing the sun. In the intense heat and blinding light, a pimp must track down a murderer who is killing the prostitutes and taking their eyeballs out.
In a dystopian future, the Earth has stopped rotating and the Asia region is constantly facing the sun. The society is divided into two class system: Cronius who controls everything and what remains of the resources and Commonus who are poor and who has to depend on Cronius for everything. The intense and perpetual sunlight destroys the people’s eyesight and they need to have a restorative eye surgery every nine years. But the “Permit” to have the surgery is controlled by the Cronius and Commonus have to slave away their lives in order to acquire the Permit. Meanwhile, a murderer is killing the prostitutes and taking their eyes out. In the relentless heat and blinding sunlight, a pimp tracks down the killer and, in the process, discovers something more sinister and sordid along the way.
Although ‘futuristic’, the story is based on the social conditions of Myanmar (Burma) during its time under the 50+ years of military dictatorship.
This film also marks the return to the screen by the Burmese legendary actress May Wynn-Maung who now resides in Los Angeles.