VIENTIANE, Dec. 6 (Xinhua) -- Tales of the cultural and natural riches found by the waterways and byways of the Lancang-Mekong region have been attracting the adventurous of spirit since the 13th Century C.E. era diplomat Zhou Daguan's valuable accounts of life at the ancient kingdom of Angkor.
Centuries later in the 1860's, the tales told by French explorer Henri Mouhot helped to convey to audiences in the west something of the air of rustic authenticity and languid pace of daily life based on rice harvests, hunting, fishing and foraging that continues to pervade the region's rural parts to this day.
Despite or perhaps because of its place at the region's geographical heart, remote parts of river-crossed rural and mountainous Laos have remained among the regions "best kept secrets".
At least, that was probably the case before waves of tourists wielding camera-equipped smartphones waded in.
The subsequent ripples were seen and felt by local and foreign film aficionados at the opening night of a near-week-long feast of feature-length films in the World Heritage Listed ancient capital of Luang Prabang that wraps up Wednesday.
It is the conundrum raised in the documentary Banana Pancakes and Children of Sticky Rice by dutch filmmaker Daan Veldhuizen, in which a collision of culinary mores in the title sets the scene for a wider questions on the sometimes turbulent confluence of foreign and local ways inherent in global leisure travel, in this case the backpacker variety.
The film's focus is centered upon the village of Muang Noi in the northern province of Luang Prabang on banks of the Nam Ou River, upon which it has long relied for transport of people and goods.
The pocket-sized town is surrounded by examples of the regions striking karst geography and boasts simple and readily affordable hospitality making it a haven for backpackers, budget tourists and adventure-seeking trekkers alike, particularly during the cool and dry winter high season.
The village is in a region home to a rich tapestry of traditional linguistic and cultural practices yet challenged by remoteness and material deprivation that make the increasingly-realised promises of material modernity all the more attractive.
How does local culture adapt to the influx and attraction of foreign and imported ways and technologies of the visitors, and what are the ramifications for individuals as they navigate modern economic realities as well as the less tangible assets of heritage and identity?
Like a river, the cross-cultural interactions on screen sometimes flow freely and other times hit the rapids of mutual misunderstanding as boatloads of tourists are ferried in to enjoy the somewhat languid yet authentically charming and culturally-rich way of life of rural Laos so adroitly captured in the film.
And while the travellers have the privilege of selectively casting off some of the stresses and complications of the developed world they left at home for a more simple life for a limited time, the locals of the village that play host them are steering a more uncertain course toward a more fast-paced and electrified future.
The influx foreign travellers and increased prosperity seems a source of both hope and fear for the future in what is a changing social and environmental landscape.
Eschewing narration completely, the film is all the better for giving direct voice to its subjects, chiefly among them key characters, two young men, childhood friends drifting apart as they navigate a changing landscape which prosperity and notions of success and status have become more important to a young and fast-growing population.
The genuine, honest and tolerant nature of the Lao people and shines through unfiltered despite the complexities of trying to understand and accommodate foreign visitors under the eye of the camera.
The result of the effort showed in front of an estimated crowd of 1500 for the opening of the Luang Prabang Film Festival in the first official screening in the landlocked country that coincided with the national holiday celebrating the 41st anniversary of the establishment of the People's Democratic Republic.
Filmaker Daan Veldhuizen spoke to Xinhua about the project.
"In recent years, Laos has acquired an important position on the tourist map in South East Asia. People come from all over the world to enjoy its traditional culture and stunning natural beauty," Veldhuizen said.
"(The film) tells a story about conflicting desires: with tourists demanding pristine nature and traditional culture, we see the villagers aiming for more wealth and luxury. By showing both the tourist and the Lao perspective in this film, I wanted to make their contrasting desires relative to one another."
"Backpackers especially come to Laos in search for its authenticity; to experience a life outside of the fast paced modern society they originate from. But in their search forundiscovered' places, lies the paradox of discovering it and influencing it forever."
"I hope that tourists will think more about the impact they have while they continue their search for paradise. As for the Lao audience, I hope they can relate to both the good and the bad aspects of development as displayed in the film.
"Whatever development may bring to Laos it's my wish that friendship will ultimately be more important than wealth in the hearts of people."
