By Aela Niget-Powers
Context of the political situation
The Rohingya are a Muslim ethnic minority inhabiting Rakhine State in western Myanmar (Burma). They are currently regarded as one of the world’s most oppressed minority groups. The violations of their human rights originate from long-standing ethnic, religious, and political conflicts. Although the Rohingya have historical ties to the area that stretch back centuries, the Burmese government has consistently viewed them as foreigners and undocumented immigrants. They have faced persistent discrimination, violation of their fundamental rights, and rampant violence. The tension of these serious conflicts between the Rohingya and the Myanmar government became manifest in 2012 when communal violence erupted unchecked between the Rohingya and Rakhine Buddhists, killing and displacing thousands of Rohingya.
The conflicts escalated to genocide in 2017, leading to a large-scale exodus of Rohingyas to Bangladesh. The de facto ruler of Myanmar at the time, Aung San Suu Kyi, came under major criticism for failing to do enough to safeguard the Rohingya following the savage crackdown by the Burmese military. In response, the international community has imposed economic and political penalties and denounced the Burmese government’s conduct. Aung San Suu Kyi lost most of her international credibility, and her civilian administration was consequently overthrown in a military coup in February 2021. Human rights organizations and the United Nations have called for a halt to the violence, drawing strong condemnation worldwide. The Rohingyas’ plight is still grave, despite international pressure, as a result of continued obstacles and political wrangling, particularly about the issue of their repatriation and integration into Burma.
Summary of the documentary
Barbet Schroeder directed the documentary “The Venerable W,” released in 2017. Through the depiction of Ashin Wirathu, a radical Buddhist monk, the documentary investigates the conception of hate speech and Buddhist extremism in Burma, contributing to a part of the hatred of the Rohingyas. The film focuses on Ashin Wirathu’s charismatic and influential role as the head of Burma’s 969 Buddhist nationalist movement, exposing his exploitation of the Buddhist faith to foment hatred toward the Muslim Rohingya minority. The footage also reveals the devastating results of inciting animosity, such as inter-religious violence and persecution. In the process, it discloses in detail the development of radicalization techniques and provides a startling contradiction of the conventional conceptions about Buddhism as a religion of peace and compassion.
The documentary received praise from critics for its captivating filmmaking and an in-depth examination of related issues that expand the globe. It provides a valuable viewpoint on religious extremism by focusing on the inter-communal tensions in Burma, shedding light on the devasting consequences when intolerance due to cultural and religious differences takes root in a multicultural society.
An Interview with Lionel Baier, producer of the film “The Venerable W.”
(in conversation with Aela Niget-Powers)
Lionel Baier is renowned in Swiss cinema as an independent filmmaker, screenwriter, and producer. Regarded as a pivotal model of “New Wave” Swiss filmmaking, Baier examines social and political problems with a sardonic tone through complex characters. He also became head of the cinema department at the Ecole Cantonal d’Art de Lausanne (ECAL). To enable our readers better to understand the threat of extremism within their own communities, Lionel Baier shared his experiences as a producer of “The Venerable W.” with serious yet elegant candor.
Baier stated that at the beginning, the actual initiative to film Ashin Wirathu had even been kept secret from him. Schroeder had opted to keep the issue ambiguous and had asked Baier if he could provide him with a Swiss press card. This exemption would allow him to travel around Burma with a simple tiny camera and shoot the scenes in tourist mode. After learning more about the initiative and discovering more about the Rohingyas’ horrifying reality, Baier felt compelled to accompany him and relay their tale through the production of this documentary.
“We have a tendency to imagine things to be far away. It can, however, go fast from simple words to concrete action. World War II is the perfect example. The purpose of this documentary is really to raise awareness.”
Baier reminded me that the documentary was filmed during an anti-Muslim wave in France, with correlated growth between extremism and identity talk. He felt it was vital to remind us that the dangers that appear so far away from us are not always so. He believed it is vital to be attentive to what is happening around us, even discussing something as far away as the Rohingya catastrophe. Something that appears to be far away may actually be very close. As a result, the purpose of this documentary is not just to document but to stimulate debate and identify questions we had not previously thought to ask.
“In life, man, like a funnel, faces a wide range of complex things and simplifies them. I believe it is much different in the realm of cinema. We begin with the simplest queries, which might lead to more sophisticated ones.”
Baier confessed that the filming procedure was one of the most difficult aspects of the production. Schroeder had to utilize tactics that allowed Ashin Wirathu to feel at ease, speak authentically, and reveal the depth of his thoughts. They had to avoid self-censorship at all costs, as it would undermine the documentary’s core values. Baier recalled Schroeder’s innate talent and skill in this area, referring to his first interview and documentary of Ugandan President Idi Amin.
“There must be no censorship, which would destroy the documentary principle. They must describe the context of their thoughts.”
Several groups, including Amnesty International, collaborated in this documentary. Nevertheless, the producer persevered, aware that the key to making the voices of the many players heard was maintaining a neutral environment, coupled with the tacit intent to promote awareness of minorities in society. As Baier commented:
“We are all a minority in some way.”
Unfortunately, the Rohingya face a double curse. They are both impoverished and Muslim.
“Often, civilizations related to nomadism are called to hostility, but we were all nomads at one point.”
Baier went into greater detail about the filming conditions, smiling as he described how Schroeder arrived with a little camera and appeared as harmless as a tourist. Because Ashin Wirathu was extremely active on social media, they were able to collect further material on a hard drive. Nonetheless, the major concern was not just getting the materials out of the country but receiving approval from all parties involved to use them. A simple “No” from Wirathu, and the documentary would have never been completed. Nonetheless, the portrayal was approved, and the documentary was released.
Lionel Baier stated that, for the time being, even though he prefers reconciliation with a view to peaceful coexistence among the various communities in Burma, it seems difficult to realize. The country’s economic situation continues to pose problems, and a scapegoat must be found. According to the producer, even if the Rohingya are not a threat, it is easiest to blame them. This emphasizes how efforts at economic growth and humanitarian assistance in the Rakhine region might help resolve the fundamental problems that caused the Rohingya crisis. The path to reconciliation will necessitate time, serious effort, and sincere discussion among all parties.
Aela Niget-Powers
Aela is a student at ESSEC Business School, holding dual French and American citizenship. Committed to her passion for the arts, she attends night classes at l'école du Louvre to further her knowledge and appreciation of artistic expression. Aela has explored diverse cultures worldwide, fostering a global perspective. Her editorial endeavors are driven by a desire to elevate conversations, infusing them with a nuanced exploration of the dynamic interplay between art and society.