What makes the women’s collaboration unusual is that they hail from different sides of the ethnic divide: Hla is Buddhist and Nyo Nyo is Rohingya
scene of “Midwives”, Snow Hnin Ei Hlaing’s debut feature documentary, a young woman gives birth in a makeshift clinic in Myanmar. She is splayed out on a tarpaulin mat; an IV drip hangs from the bamboo roof. She groans as Hla, a midwife, examines her and Nyo Nyo, Hla’s apprentice, massages her abdomen. The camera lingers on the woman’s agonised expression and the baby’s face as it blinks into the light. Female onlookers start to chatter. Hla snaps: “I just told you bitches to shut up.
Demography is a political issue, and Hla’s and Nyo Nyo’s work is considered controversial by their compatriots. In 2013 the Burmese government imposed a two-child limit on Rohingya to “ease tensions”; local politicians claimed that, without such measures, the Buddhist population would be overwhelmed. Such propaganda, espoused by the army and Buddhist leaders, has stoked racial hatred.
Hla is the enigma at the centre of the film. It is never made clear why she risks her life to help the persecuted—she says only that they have nowhere else to go. She counts Nyo Nyo as a friend and celebrates Eid with her family. She tells them they should protest against the unfair treatment they receive at the hands of the government. At the same time, she frequently uses racist and derogatory language. “No matter how much I teach her she’ll always be just anotherwoman,” she says of Nyo Nyo.
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