If you’re an Iranian filmmaker, you’re sure to make it into film festivals. If you’re a Burmese filmmaker, chances are you’ll be on the festival radar, too. It doesn’t matter how good or bad your film is. Two directors reflect on privilege and cynicism, all while trying to maintain a clear conscience. The two reflect: am I being noticed for my work, or because of my country’s political situation? Do you see yourself as an artist or a political activist? Is this nothing but a safari of opportunities that someone still dares to call the film industry?
