A Burmese performer navigates a major Thai film and envisions roles behind and in front of the camera
The journey that turned Poe Mamhe Thar from local favourite into a figure noticed across borders began one role at a time in her native Myanmar. Over years of work she developed a keen sense of how characters connect with audiences, and that sensitivity is now meeting a wider stage with the film Gohan. In this production she plays a young housekeeper whose story intersects with a stray dog and two other owners, delivering a role that helped her introduce Burmese perspectives to a broader regional audience. The experience is described by the actress as a meaningful regional debut and a step toward more cross-border projects, reflecting both personal growth and industry shifts.
Her invitation to audition carried an implicit promise: the project was made by established creatives and backed by a major studio. Produced by GDH 559 and directed by a trio including Baz Poonpiriya, Gohan assembles talent from Japan, Thailand and Myanmar in a story that spans a decade through the travels of a white stray dog. The setup appealed to Poe as more than a single performance—it felt like a chance to engage with diverse film cultures and to test her approach in a larger, more coordinated environment. She recognized from the start that this was an opportunity to move beyond national circuits into a shared cinematic space.
On set, the differences from her usual working conditions were striking: the production displayed a level of preparation and cross-department coordination that Poe described as reassuring and energizing. The crew’s rhythm and the operation’s logistics left little to improvisation, and many practical needs were anticipated before they had to be asked for. For an artist used to navigating tighter or less resourced shoots, the contrast highlighted the value of solid production systems and cooperative teams. This environment made the set feel more like a second home, and the warmth of the cast-and-crew dynamic underlined how international projects can offer both professional rigor and personal support—a balance she found invigorating.
The cast’s mix of nationalities created repeated moments of exchange: conversations that ranged from technique and work habits to the different expectations audiences bring in each country. Poe says those dialogues were as educational as rehearsals, giving her fresh perspectives on storytelling choices and performance nuance. The film connects three lives across years—an automotive engineer nearing retirement, an art student discovering love, and the housekeeper Poe portrays—using the dog as a narrative thread. Through that structure, the project underscored how a simple motif can become a lens for layered interpersonal stories, and how Gohan acts as a vehicle for regional empathy and collaboration.
Interest outside Myanmar has already shifted since the film’s completion, with casting inquiries and attention from other markets following her appearance. Poe credits her upbringing in a smaller industry for cultivating adaptability: when resources are limited you cultivate creativity quickly, and that versatility translates well to larger sets. She feels better prepared for multinational productions because she learned to improvise, to listen closely, and to collaborate without ego. That background, she believes, positions Myanmar artists to contribute meaningfully to international cinema while retaining distinct creative voices.
Beyond acting, Poe is increasingly drawn to the mechanics of casting and to roles off camera. She speaks of the casting process as a place where energy and authenticity are matched to characters, and imagines a future where she helps curate ensembles that reflect regional diversity. Her dream on-screen remains intimate and personal: a part that reconnects to her earlier studies in medicine, perhaps in a medical drama where she can blend technical knowledge with character work. As Gohan opened a door—released theatrically in Thailand on April 2—the larger hope is that such projects will bring more attention to Myanmar talent and create sustained pathways for artists to move fluidly between home industries and regional opportunities.