Metacritic-Rezensionen

Lusciously lensed by cinematographer Jigme Tenzing, the ensemble comedy examines how the country’s upcoming mock elections affect the titular monk, a rural family, an election official, and a desperate liason from the city, all of whose lives collide in minor and major ways.

Though it takes place in the recent past, at a time when the Bhutanese people were still getting used to such American imports as James Bond movies and “black water” (Coca-Cola), the film has something important to say about the promise and the perils of the present.

Things come to a head in a way that is simultaneously slapstick-y and touching, and entirely in keeping with a movie that has never lost its sense of charm through an hour and a half of twists and turns and engaging mountain escapades.

Perhaps there are a couple of unnecessary complications on the way to the denouement, but the storytelling is lively and piquant, demonstrating the director’s sense of humor and sharp observational skills.

At a time when extremes in discourse always seem loudest, the modest pleasures of The Monk and the Gun are appealingly reasonable. Brandishing new ways doesn’t have to mean holstering old ones.

The Monk and the Gun, the sophomore effort from Pawo Choyning Dorji, is centered on people feeling the full brunt of this experience for the first time. Set against the backdrop of 2006 Bhutan, The Monk and the Gun is a light but well-delivered political satire about the country’s first democratic elections following their king’s abdication.

The Monk and the Gun is a film that understands why we still need to consider tradition — the actual definition of the word, that is — when thinking about complex political issues.

The film pulls off something truly bold: taking what are perhaps the most emotionally and symbolically loaded items in existence and subverting their meaning completely to end on a note of peace, joy, and hope for the future.

It’s only when you realize that this is indeed an aimless feature film where any symbolism or real-life commentary isn’t going to make much of a mark. That and the fact that this fearless director sees this oddly flat, though congenial, project as a comedy quickly all fall into a narrative hopelessly lost in a sea of tedium.

However sincere and justified, the digs are so innocuous that their main purpose seems to flatter Western viewers who will nod along as they coo at the landscapes and chuckle knowingly about ugly truths they think have nothing to do with them, but do.