Live in Live
Live in Live is a post-modern expressionism psychological drama that blends romanticism and realism, exploring the internal struggle of a man trapped in the aftermath of a traumatic event, haunted by guilt and the weight of his own emotions.
Kyi Thar, a man in his 30s, works as a brand mascot performer. He suffers from complex post-traumatic stress disorder (C-PTSD) following the suicide of his beloved wife, who took her life due to harassment by an online Kyar Phyant Gang. The trauma from this loss has forced Kyi Thar into a repetitive, monotonous routine, stuck in a loop of self-blame and emotional numbness.
The film follows three days in Kyi Thar’s life as he attempts to break free from this psychological cycle. On the first day, he wakes up late, disturbed by a vivid dream of his wife’s suicide. He moves through his morning routine, trying to escape the haunting presence of his "other self," a manifestation of his guilt that constantly blames him for his past actions. His other self reappears, showing him a photo of his wife, intensifying his feelings of shame. He tries to push these feelings aside as he heads to work. At the train station, the train is late, as usual. His other self reappears, criticizing him for not taking the bus instead. Kyi Thar then receives a phone call from his mother, informing him that his father is in critical condition and requires money within next two days, for treatment. If not his father will die.
When he arrives at work, his manager reprimands him for being late, preventing him from asking for the financial help he needs for his father, who is in critical condition. At the shopping mall, Kyi Thar performs in a frog costume as a mascot, dancing for the public. He teases a child with food, but the child begins to choke. Kyi Thar freezes, paralyzed by fear, but a bystander intervenes and saves the child. The event leaves Kyi Thar with overwhelming guilt. Later, as he returns home, he reflects on the day, realizing that he is trapped in an endless loop, desperately wishing for an escape from his pain.
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Thet Nay TunDirector
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Ruidi BaoWriterStory
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Jithu JayakumarWriterScript
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Mg BatharWriterScript Mentor
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Thet Nay TunProducer
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Nay MinKey Cast"Kyi Thar"
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Mya YarKey Cast"Shwe Phyu"
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Mg Thar NgeSoundSound Design
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San Naung DweSoundMusic
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Kyaw Ko KoSoundSound Mix 1
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Mg Thar NgeSoundSound Mix 2
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Htet Ko Ko PaingSoundSound Design Assistant 1
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Chan NyiSoundSound Design Assistant 2
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Htet Ko Ko PaingSoundFoley 1
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Yan Paing HtunSoundFoley 2
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Min Min KyawCameraDop
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Kyaw SwarCameraCamera 1
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Ye WinCameraCamera 2
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Nay AungEditingEditor
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Soe LinColouristColourist
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Aung KyawProduction ManagerProduction Manager
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Kyaw ThitProduction ManagerLocation Manager
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PanitaProduction ManagerCrew Manager
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Si ThuLocation AudioLocation Audio
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Nyi Nyi AungStylistStylist
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Min Pyae PhyoArtArt
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Project Type:Short
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Runtime:30 minutes
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Completion Date:March 26, 2025
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Production Budget:28,000 USD
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Country of Origin:United Kingdom
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Country of Filming:Myanmar
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Language:English
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Shooting Format:4k
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Aspect Ratio:cinema scope
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Film Color:Color
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First-time Filmmaker:No
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Student Project:No
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Digital Cinema Package:Unavailable
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Paladino d’Oro Sport Film Festival 2025Palermo
Italy
December 7, 2025
Finalist -
RED Movie AwardsReims
France
May 15, 2026
Best Short film (Honorable Mention) -
Chambal International Film FestivalMumbai
India
January 30, 2026
Best Director Award
Thet Nay Tun, a filmmaker and video editor from Yangon, Myanmar, is not only a creator but also a passionate storyteller with a distinctive visual style. Having directed over 80 films and 40 music videos, Thet Nay Tun’s body of work reflects a deep commitment to the art of filmmaking. His recent graduation with a Master's in Filmmaking from the University for the Creative Arts in London has further enriched his cinematic vision, merging his Burmese roots with the modern techniques of global filmmaking.
Thet Nay Tun’s visual style is a dynamic blend of traditional storytelling and innovative filmmaking. His films often emphasize the emotional core of human experiences, transcending cultural boundaries to tell stories that resonate with universal themes. He believes in the power of visual storytelling, often quoting directors like Alfred Hitchcock, who once said, "To make a great film, you need three things: the script, the script, and the script." Thet Nay Tun upholds this belief, focusing on strong narratives that anchor his films. But he doesn’t stop there he skillfully uses cinematography, editing, and sound design to enhance the emotional depth of his stories.
In his work, Thet Nay Tun draws from his upbringing in Myanmar, a country with a rich history and complex socio-political landscape. "I want to bring the stories of Myanmar to the world, stories that are raw, emotional, and deeply human," he often says. His films explore the beauty and struggles of his homeland, painting vivid pictures of life in Myanmar. Yet, he also seeks to push boundaries, creating films that are not just visually stunning but also thought-provoking.
As Quentin Tarantino once said, "I just try to tell a story as cinematically as possible." Thet Nay Tun’s approach mirrors this sentiment. He crafts films that are both visually striking and narratively compelling, always aiming to immerse the audience fully into the world he creates on screen. His recent works, influenced by the cinematic techniques he absorbed during his time in Europe, are more refined, incorporating elements of modern European cinema while staying true to the cultural richness of Southeast Asian storytelling.
His journey in London exposed him to the filmmaking techniques of the West, which he compares with the processes in Myanmar. “In Myanmar, we focus on the rawness of human emotions and simplicity, but in Europe, I’ve learned to embrace technical precision and subtlety in visual storytelling.” This fusion of styles has enabled him to create a unique voice, one that speaks to audiences both at home and internationally.
Thet Nay Tun is not only a filmmaker but also a firm believer in collaboration. He understands the importance of teamwork in the filmmaking process, quoting Steven Spielberg: "You can’t do it unless you can imagine it." Thet believes that while imagination is key, bringing a film to life requires collaboration with others who share the same vision. His openness to work with global creatives and his desire to collaborate with other filmmakers, producers, and writers is central to his approach. He sees every project as an opportunity to learn and grow, always pushing the boundaries of his craft.
His experience in directing music videos has further honed his ability to tell stories through rhythm and visual composition. In his words, "A great film is like a great song it has rhythm, harmony, and emotion. And just like music, filmmaking is about connecting with the audience on a deep, visceral level." Thet Nay Tun’s films are a testament to this philosophy, with every frame meticulously crafted to evoke emotion and meaning.
Now, with his expanded understanding of the global film industry and a refined creative vision, Thet Nay Tun is open for new opportunities, collaborations, and projects. Whether working on feature films, documentaries, or experimental cinema, he is excited to bring fresh, authentic stories to life on the global stage. His work continues to evolve, and he remains dedicated to telling powerful stories that not only entertain but also inspire.
For Thet Nay Tun, filmmaking is more than just a profession it’s a lifelong passion. As he continues to explore new avenues in the industry, he is eager to collaborate with like-minded creatives who share his dedication to storytelling. He is open for collaborations across all forms of media, looking forward to working with others who believe in the transformative power of cinema.
I love Directing and Editing. I have been in front of and behind the camera for over 15 years and have settled behind the camera where I can unleash and utilize my talents as a storyteller across all the required artistic practices to bring you a visual story motion, music/sound. My background as a film director and editor further enriched my understanding of visual storytelling and the technical aspects of filmmaking. Myanmar has been in a civil war for a long time. The people of Myanmar are feeling tired. Now, there is a 7.7 magnitude earthquake aftershock. We Burmese people feel very sad. This is my first film for the festival. My film will be able to represent the feelings of our Myanmar people. Having worked within Myanmar’s mainstream film scene for years, I wanted to unlearn old habits and rediscover filmmaking as a personal language — that became the start of this project.
🎖️ The film has recently been a finalist for the 45th edition of the Paladino d’Oro Sport Film Festival (Italy, 2025) at other cinema.
🎖️Best Director Award
Festival: Chambal International Film Festival
(Mumbai, India)
January 30, 2026
🎖️ Honorable Mention – Best Short
Festival:
RED Movie Awards (France)
Year: 2025
Received Honorable Mention in the Best Short Film category at the RED Movie Awards, France — a European film festival partnered with Society Awards, the production company behind the Emmy and Golden Globe trophies. Recognized for distinctive storytelling and direction, the film was praised for its strong visual language and emotional depth.