Worth: $17.00
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Cast:
Sherab Dorji, Ugyen Norbu Lhendup, Kelden Lhamo Gurung, Pem Zam
Intro:
… sweet but never saccharine and rewards the patient viewer with a gentle story about finding oneself in an unexpected place.
In his first feature, Bhutanese writer and director Pawo Choyning Dorji crafts a piece of quiet cinema that is beguiling in its tranquility but also purposeful in its message. City dweller Ugyen (Sherab Dorji) is in his last year of a government teaching contract. His real dream is to move to Australia and become a singer. Uninspired by the teaching he has done thus far, he is called one of the least committed teachers of his cohort and as a form of punishment for his substandard performance he is sent to Lunana – a highland area so isolated that it qualifies as having the most remote school in the world.
Attracted to the 21st Century lifestyle of clubs, phones, and pop music, Ugyen is not willing to go. However, some harsh truths from his Grandmother and the proposition of failing to contribute to Bhutan’s ‘Gross National Happiness’ spur him towards the highland village.
Luana is a slow tale. Much of the first act revolves around Ugyen’s hike to the village wherein he is guided by the jovial Michen (Ugyen Norbu Lhendup). Initially, Ugyen closes himself off from conversation with his travelling companions and the nature surrounding him by blasting pop music through his iPod. Eventually the battery runs down, and he begins to listen to the sounds and stories of the rural people. He also begins to see the immense beauty of the Bhutanese landscape. The hike slowly becomes less of a trudge for him, but he remains unconvinced of the ways of the highland people.
When Ugyen arrives in Lunana he is treated almost as a dignitary. The respect he is shown doesn’t prevent him from realising what a fish-out-of-water he is. Lunana, with its population of barely over fifty people is the definition of hardscrabble for Ugyen and his initial reaction is to turn around and go home again.
There are no real pivotal moments that signal Ugyen’s journey of finding himself in the rustic and simple life of Lunana; the film focusses more on incremental moments that shape his change in attitude. From noting the keenness of the students to learn, especially shown by the charming non-actor, Pem Zam, to the serenity he finds learning the music freely given by Yak herder Saldon (Kelden Lhamo Gurung) – Ugyen finds a place in which he can serve others. Perhaps more importantly, he sees his own country in a manner few ever will. He starts to understand how simple connections are life-giving as symbolised through the relationship the villagers have to their yaks. And, yes, an actual yak, named Norbu, does take up residence in the classroom.
Dorji filmed in Lunana relying on solar batteries. The miraculous work by cinematographer Jigme Tenzing in capturing the majesty of the Himalayas is equally impressive as he films the smaller moments on screen. The audience is richer for being given the opportunity to see a part of the world that remains barely known. Dorji’s fondness for the highland and its people is clear, as too is the philosophy of the film – to be connected is to be connected to the service of others.
Lunana won’t be to everyone’s taste. The pace is slow and there is little dramatic tension. However, the film is ultimately sweet but never saccharine and rewards the patient viewer with a gentle story about finding oneself in an unexpected place. Put forward as a contender for Best International Film at the Academy Awards, Lunana has enough appeal, if not exactly to be universal, but to win over some of the more cynical viewers, just as the village itself won over Ugyen.
