Laos has come a long way since its days of propaganda films of the 1970s. Only in the last decade has the sleepy, mild-mannered country dipped its toes into the vast and unexplored world of non-propagandistic narrative and documentary filmmaking — something of a challenge for a country operated under strict communist rule that imposes political and cultural constraints that shape the country’s national cinema offerings.

For audiences, the Golden Age of Lao cinema was a period before the revolution when there existed twelve theatres in Vientiane, all equipped with 35mm projectors and showing movies from Hong Kong, Beijing, Hollywood, and Bollywood. Selections were uncensored. In Savannakhet, the historic Nang Lit Cinema would show two films per day: a main attraction at 7 pm was a screening in Chinese language for Chinese audiences, and, at 9 pm, a screening for Lao audiences of a Thai movie or an Indian movie. On the weekends, an additional showtime at 3 pm would garner a full house; not a small feat considering the theatre had 1100 seats. All non-Lao/Thai movies were dubbed in real time with voice actors, who were situated in a small room next to the projection box.

After the communist liberation in 1975, the Kingdom of Laos became the Lao People’s Democratic Republic. The transition from a constitutional monarchy to a one-party parliamentary socialist republic took nearly two decades to find its footing. During this time, some ten percent of the country’s population fled across the Mekong River to Thailand, leaving behind a sombre and repressive economic environment. It took the fall of the Soviet Union to inspire Laos to start opening its economy in the early 1990s, encouraging private investments and joint ventures, with fewer impediments to conducting business — like operating movie theatres. Today, there are three multiplexes in Vientiane showing big production films from China, Thailand, and the west. With relatively lavish ticket prices, regular movie-going is not within reach of most Lao families.

As for filmmaking in Laos during this  period, the only possible way was with the cooperation and hard-sought approval of the Lao government. All screenplays required inspection by both the National Cinema Department and the appropriate Provincial Department of Information and Culture — peer departments under the domestic Ministry of Culture. Officials would sit with filmmakers and tell them which scenes to cut or alter. These strict controls in combination with imposed nightly curfews did not make for a friendly atmosphere for aspiring filmmakers. And the public was disinterested in films about politics and war. Only two feature films were made in Laos between 1975 and 2008: Red Lotus (1988, directed by Som-Ock Southiphonh) and The Sound of Gunfire From the Plain of Jars (1983, directed by Somchit Phonsena & Pham Ky Nam). Both were state-sponsored films about the war in Laos, with overt communist propagandistic themes, though Red Lotus in particular managed to transcend its propagandistic foundation and receive international recognition, winning a special jury prize in Cambodia in 1997.

In 2008, after more than thirty very quiet years, the film world in Laos was sparked by a privately-funded film that was co-directed by Sakchai Deenand and Anousone Sirisackda, Thai and Lao, respectively. The script for Good Morning, Luang Prabang underwent considerable scrutiny and revisions by the National Cinema Department  before gaining the government’s approval. Even then, the filming and editing of the movie was chaperoned by a government official to ensure Laos was being properly represented and no controversial content was included. As the first commercial feature film shot in Laos, it premiered in Vientiane Capital and was released in Thailand. The feel-good, romantic drama showcases scenic destinations, the natural beauty of Laos, and the kindness of its people, attracting Thai tourists to Luang Prabang. Recognizing this as a potential source of income for the country, the government cautiously allowed the film industry in Laos to grow. Since this first spark, filmmakers in Laos have expanded their themes, shifting away from propaganda and addressing such unconventional topics as homosexuality, class division, spiritualism, and environmentalism.

Key players in paving the way for commercial film production in Laos, Anousone Sirisackda and Douangmany Soliphanh co-founded Lao Art Media in 2000, the country’s first production company. Supported by contract work for non-governmental organisations, Lao Art Media doesn’t rely on state support. Their determined efforts would eventually give the distinguished Mattie Do the support she needed to produce her films.

Enter Lao New Wave Cinema Productions (LNWC) in 2011, originally co-founded by ten filmmakers, including Anysay Keola, Vannaphone Sitthirath, Phanumad Disattha,  Xaisongkham Induangchanthy, Khamhou Phanludeth, Athidxay Bouandaoheaung, and Florent Duroc. LNWC has been a driving force to developing socially responsible media in Laos with an “aim to change the face of the Lao movie industry”. The first feature film from LNWC, At The Horizon (2011), directed by Anysay Keola came to be recognized as the first thriller drama of Laos and was screened at festivals worldwide. Over the years, Lao New Wave Cinema has proven its ability to produce quality films, bringing more recognition to Laos and pushing filmmaking in Laos into its adolescence.

At a pivotal point, two film festivals were founded within about one year of each other. In 2009, the Vientianale International Film Festival (VIFF), a bi-annual event, was established by a group of German film-buffs and Athidxay Bouandaoheaung (one of the co-founders of LNWC). The VIFF and its short film festival, the Mini Vientianale, screened a wide range of Lao and international films every year. Sadly, VIFF ran its last event in 2018. To fill the gap, a new initiative was founded in 2021 by Xaisongkham Induangchanthy — an annual short film competition and film screening called LanXang Shorts.

The Luang Prabang Film Festival (LPFF) was launched in 2010. In a city where there are no functioning movie theatres, it is a highly anticipated annual event that showcases films of all genres from ASEAN member countries. The first screening of the LPFF drew a crowd of around 1400 people, far exceeding the organisers’ expectations. In 2013, the LPFF created the Lao Filmmakers Fund and has since disbursed over $250,000 USD to more than 27 domestic projects. It is the only consistent initiative that grants funding in support of Lao film. In 2022, LPFF adopted a new name, Blue Chair, but continues to operate in support of Lao filmmakers and the celebration of Southeast Asian cinema.

Another ground-breaking initiative started brewing around 2010 in Luang Prabang by an American non-profit learning centre, @ My Library (set up in 2003 by Carol Kresge). With the help of Dutch freelance photographer and filmmaker, Adri Berger, some highly curious staff, and patrons, @ My Library offered their first course in the introduction to the basics of filmmaking in 2012. After nearly a decade of trial and error, the popular, free, and well-organised 5-week intensive filmmaking class is offered annually. Over the years, this course has trained more than 1500 students. Lao youth are given a voice and a chance to share their story, to educate others while learning perseverance and organisational skills.

All these initiatives have been fundamental in the revival of Lao cinema, spurring the sudden boom of interest in movie making in Laos.