Harà Watan (Lost Land)

In the hope of reuniting with their scattered family, four-year-old Shafi and his nine-year-old sister Somira leave a Rohingya refugee camp in Bangladesh on a perilous journey to reach Malaysia.

For twelve years, I have been working on films in Southeast Asia, particularly in Myanmar. I often heard about the repeated persecution endured by the Rohingya people. It was hard to believe such cruelty exists in today’s world. In Myanmar, speaking openly about the Rohingya was taboo. So I remained silent, fearing professional consequences. That silence became a burden and led me to Harà Watan.
When I began thinking about what kind of story to tell, I felt strongly that I wanted to portray the journey of the Rohingya as they leave their homeland in search of a place where they can live in peace. Their path is filled with obstacles: the forces of nature, exploitation in cross-border trafficking, and constant challenges that test their strength and resilience. Depicting their journey was essential to express the reality of the Rohingya — people without nationality or citizenship, forced to live in precarious conditions wherever they go, always searching for a place to truly belong. I was fortunate to have met over 200 Rohingya people who took part in this film, including the brother and sister who play the main roles. Most had personally experienced the perilous journeys the film portrays. Though none were trained actors, the weight of their lived experience gave an unmistakable strength and authenticity to their presence on screen.
Rather than being made within the conventional framework of a Japanese film, this work was created through a borderless collaboration involving Japan — with its deep historical connection to Myanmar — Malaysia, where many Rohingya have sought refuge, and European countries where immigration issues are pressing and immediate. Harà Watan portrays the long journey of refugees through the eyes of children, blending harsh reality with elements of fantasy. If cinema is an art form that can serve as a metaphor for “living together”, I hope that through this film, the Rohingya — who may seem distant to many — can feel closer to us, as neighbours, as friends.

PRODUCTION 1:
E.x.N K.K. - Kazutaka Watanabe
3-6-25, Mukodaicho
188-0013 Nishitokyo-shi, Japan
Tel: +81 9036228334
E-mail: info@exnkk.com
Web: http://www.exnkk.com
Social Media: @ExNKK - X (Twitter), @how_lai_you - X (Twitter), Watanabe Kazutaka - Facebook, @exnkk6747 - YouTube, kazu______wata - Instagram

PRODUCTION 2:
Panorama Films - Angele de Lorme
11 Bis Passage de la Visitation
75007 Paris, France
Tel: +33 788418891
E-mail: angele.panorama@gmail.com
Web: http://www.panorama-films.com
Social Media: Angele De Lorme - Facebook, https://www.instagram.com/panorama__films/?hl=en - Instagram

PRODUCTION 3:
Elom Initiatives - Sujauddin Karimuddin
No. 6-3, Jalan 1/2D, Taman Sri Murni, Batu Caves, Selangor
6810 Kuala Lumpur, Malaysia
Tel: +61 402584421
E-mail: sujauddin.k@gmail.com

PRODUCTION 4:
Cinemata - Elise Shick
162, Jalan Indah 2/5, Taman Kluang Indah
86000 Kluang, Johor, Malaysia
Tel: +60 177820933
E-mail: elise.kumanpictures@gmail.com Social Media: https://www.instagram.com/cine.mata?igsh=MXIyYXV6cDJsZDd5MA%3D%3D&utm_source=qr – Instagram, https://www.facebook.com/share/1Ja9mcbETX/?mibextid=wwXIfr - Facebook

OTHER PRODUCTIONS:
Christian Jilka - Scarlet Visions

WORLD SALES:
Rediance - Meng Xie
8 Bld. Lidu Garden, 6 Fangyuan West Rd., Chaoyang District
100016 Beijing, China
Tel: +86 13810636291
E-mail: info@rediancefilms.com
Web: http://www.rediancefilms.com
Social Media: @rediancefilms - Instagram

PRESS OFFICE:
Susan Norget - Susan Norget Film Promotion
80 Charles St.
10014 New York, United States of America
Tel: +1 917-833-3056
E-mail: susan@norget.com