‘White Tiger Column’ Directors on How Myanmar’s Resistance Speaks to Political Youth Movements in Brazil, Serbia and the U.S.: ‘Revolution Is on the Lips of a Lot of People’

‘White Tiger Column’ Directors on How Myanmar’s Resistance Speaks to Political Youth Movements in Brazil, Serbia and the U.S.: ‘Revolution Is on the Lips of a Lot of People’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 12, 2026 12:30pm PT ‘White Tiger Column’ Directors on How Myanmar’s Resistance Speaks to Political Youth Movements in Brazil, Serbia and the U.S.: ‘Revolution Is on the Lips of a Lot of People’ Bryan Dickie, Robert Mentov and Dwight Jantzi spent six weeks deeply embedded in the Burmese jungle to shoot this year’s IDFA opening film By Rafa Sales Ross Plus Icon Rafa Sales Ross Guest Contributor Latest IDFA Industry Head Says Docs Like ‘Musk’ and ‘NAZA’ Signal That Audiences Want ‘Timely’ Films: They Offer ‘Something They Feel They Have to Know’ 5 hours ago IDFA Head on How ‘You Can See Everything’ Phenomenon Can Pump New Blood Into Theatrical Doc Releases: ‘What Else Would This Audience See?’ 8 hours ago ‘Romería’ Director Carla Simón Would ‘Love’ to Collaborate With Rosalía Following Latin Grammy Nomination for ‘Flamenco’ 2 days ago See All Add us as a Google Preferred Source Comments In 2021, 10 months after Myanmar’s military overthrew the democratically elected government in a coup, Canadian photojournalist Bryan Dickie heard of a rare opening to access the country. The experience of that trip inspired him to enlist long-time collaborators Robert Mentov and Dwight Jantzi, with the trio returning to Myanmar two years later and capturing the training regime of young recruits of the People’s Defense Force.

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The result of the six weeks on the ground is “ White Tiger Column ,” opening this year’s International Documentary Film Festival Amsterdam. Related Stories Bill Hader to Guest Star on ‘Abbott Elementary’ For 45 days, the trio of filmmakers captured the lives of trainees and commanders as they readied to leave for the front and join the war.

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Through an observational lens, the directors reflect on the dichotomy of the situation: the mundanity of the lives of young kids who scroll on TikTok and sing mindlessly to Taylor Swift and Justin Bieber and the harsh reality of armed combat. Speaking with Variety ahead of heading to Amsterdam, Dickie mentions how he built “deep ties” with locals in Myanmar over 15 years of covering the area as a photojournalist.

That, coupled with his close relationship with the Burmese diaspora in Canada, gave the filmmaker great knowledge of the country’s geopolitical situation. “I’ve also embedded with multiple different ethnic armed organizations over the years, so through all of that I built up a bit of a track record going into these areas.” “We just felt a clear creative collaboration,” adds Jantzi of the early days of working on the project.

“Upon landing on the ground and shooting alongside each other, we were just working very closely, day by day, developing our shot list and working through our potential narrative arcs. Through Rob and my ongoing work as filmmakers and then Bryan and his deep knowledge of the context and the region, it just felt like a very cohesive, natural fit to work together.” Jantzi emphasizes the trio would have loved to have taken a few more trips to the country during development and shooting, but the situation was too precarious to allow the extra time.

“The reality is that the situation changes so much week by week that you can’t even really plan your characters six months ahead,” he notes. “We got extremely lucky with timing and kept trying to extend our trip, and things kept changing and becoming a bit more contentious in the region.” That sensitivity extends to the subject of the documentary itself, with the directors keenly aware of the cultural and po

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