Magos y viajeros

The second film from Buddhist director Khyentse Norbu (his first film is 1999's "The Cup", "Travellers & Magicians" is a beautiful, funny, spiritual and understated piece of cinema. The film involves two stories about two men, both on very similar journeys in very different worlds, with two very different outcomes.

Dondup (Tshewang Dendup) is an important chief officer in a remote village in the Buddhist kingdom of Bhutan, but soon realizes that he can not stay there his whole life and longs to travel to his dreamland called America. He would rather see himself picking apples in the U.S. than live a mundane life in his village. And so he begins his journey, hitchhiking his way closer to his dreamland. On the way he meets a feisty monk (played by a funny Sonam Kinga), an old apple seller, and a paper maker & his young daughter Sonam, whom Dondup slowly begins to grow an attraction for.

During the journey, the monk tells Dondup and the group an old fable that parallel's Dondup's journey and quest for a better, more exciting life. The film then inter-cuts back and forth from Dondup's story to Tashi's story. Tashi (played by the charismatic Lhakpa Dorji) is a restless farm boy studying magic, who dreams of one day leaving his boring village. While having lunch with his younger brother, he unexpectedly embarks on a journey of his own where he meets an old recluse named Agay (Gomchen Penjore) and his beautiful, and much younger, wife Deki (Deki Yangzom). Soon, Tashi falls in love with Deki and soon they begin a secret affair. Here, the film turns almost noirish.

As the monk concludes Tashi's fable, Dondup is left with a dilemma — is the grass truly greener on the other side?

This film was the first feature to be made in the Himalayan kingdom of Bhutan and was shot entirely in the Dzongkha dialect, which is the official language of Bhutan. Because few of the cast spoke this new language, most had to be taught by a dialect coach on-set. The cast does a terrific job and the performances are all excellent...all very natural. The standouts in the film are Tshewang Dendup and Lahakpa Dorji, the two protagonists. Though they go on similar journeys, both exemplify different personalities and both actors successfully establish their characters as human...likable yet flawed. My only complaint is that both their characters don't fully come to a full arc, more so for Dondup's character. Though i'm sure Norbu intended the audience to make their own conclusion to Dondup's journey of discovery. I think maybe Norbu created such great, dynamic characters, I didn't want their stories to end. I wanted to continue riding along on their journeys, curious to see what happens next.

The cinematography is stunning and Alan Kozlowski does a wonderful job at contrasting the different looks of Dondup's story and Tashi's cautionary tale. Dondup's world is a natural canvas that showcases the beautiful scenery of the Bhutan landscape. Tashi's world is darker and mystical, shot with dark blues and greens and soft lighting. The final scene at the creek of Tashi's story is absolutely breathtaking.

Highly recommended.

Khyentse Norbu gives us a simple film that is done with common people. It is the message that is important, not the stars.

Two men go on a journey. They are both after the same thing - dreaming of a better life. One, unfortunately feels that his better life can be had with another man's wife, and the result is tragic. The other dreams of going to America, where he can make more money picking apples that he can as a Government official in Bhutan.

We all search and dream for a better life, and while we are dreaming, we miss the life that is going on all around us at the moment. We focus so much on what could be, we do not appreciate what is.

Norbu's message is a simple Buddhist one. Live for the moment. This story is a perfect illustration and a joy to see.

It's a bit simplistic to call this a "road movie", but certainly much of the story follows a group of unlikely Bhutanese travellers hitch-hiking and riding in all manner of vehicles. Interspersed with this theme is a second story of a love triangle in the rugged mountains. Both stories are commentaries about the complexities of life and romance in the Himalayas as western ways take root.

Comparisons will inevitably be drawn with Khyentse Norbu's earlier movie, The Cup, and I have to admit that I preferred The Cup. I'll never forget the youthful exuberance of those monks as the World Cup soccer final approached. And I feel the Buddhist message was a bit more direct in The Cup.

However, the tagline of Travellers and Magicians is "The bitter and sweet of temporary things", and this sounds pretty Buddhist to me. We tend to forget that everything is transitory and grasp at it as if it will exist forever, and this is the cause of our suffering.

And that, kind friends, is the extent of my Buddhist wisdom for today.

Enjoy!

A man who's just been given an important position in his village is still not satisfied with life. He dreams of a more prosperous life in America. So he starts his journey along with other travellers. This is a beguiling film full of marvellous wisdom that rings true for everyone. As the journey slowly continues one of the travellers tells a story within the story which is just as compelling as the real one. There's also some wonderful images of Bhutan that will make you wonder if it's possible to go there for your next vacation! Delightful.(8/10)

Dondup (Tsewang Dandup) is a Bhutanese government officer who has just been assigned to a small village. He's anxiously awaiting a letter from a friend in America. As soon as he receives it, he plans to meet his friend in Bhutan's capital, Timphu, and from there make his way to America, which he imagines of a land of great beauty and great opportunity, with "cool", beautiful women and an exciting lifestyle.

Extending from the premise, Travellers and Magicians becomes a combination of a road film and a grass-is-greener film. Dondup receives his letter, but partially due to cultural formalities and niceties, he misses the bus he needed to catch to make it to Timphu--a 2-day journey--on time. Increasingly agitated, he meets up with a humble apple-seller and a Buddhist monk on the road, and eventually two more people join the group. While they travel, the monk very gradually tells them a parallel story meant to serve as a parable, which we see enacted.

The structure and subgenres of the film provide a nice framework for two major, intertwined themes, both of them very Buddhist in nature. The subtler theme, most rooted in it being a road movie, is that of living in the moment, which is one aspect of mindfulness. The journey, here shown in a literal way, but also meant figuratively, is just as important as arriving at a destination. The more explicit theme, rooted in the grass-is-greener aspect, is a warning against the attachment to hopes, desires and dreams. Attachment is different than merely having hopes, desires and dreams. Attachment is a state where one stops being mindful of the here and now.

Dondup keeps dreaming about America. In his mind, he's already there, and his appearance and behavior evidence this. He talks of how beautiful it must be, yet Bhutan, which is on the edge of South-Central China, in the Himalayas, not too far from Mount Everest and Nepal, isn't short on beauty. Exquisite cinematography keeps us aware of this, and stresses how Dondup cannot see what is right in front of his face. He also dreams of the job he might hold in America--perhaps he'll be an apple-picker or dishwasher, he muses. But he has a relatively well-paid and certainly well-respected position in his culture. He dreams of the women in America, yet he runs into a very beautiful and elegant woman on his journey who is young, single and very attracted to him. The grass-is-greener theme even rears its head by Dondup trying to block out live music that's right in front of him (thanks to the Monk with a dramnyen, which is a bit like a guitar) by playing western music on a boom box.

At the same time, the parallel story told by the monk features a young man with similar dreams who inadvertently escapes to an unknown area where he too meets a beautiful woman who is attracted to him. The woman's husband has also achieved "the other side of the fence" in his grass-is-greener dream, but with the arrival of the young man, it backfires on him. Achieving the greener grass also ends up backfiring on the young man in a way, and he seeks a return home.

It's important to remember that in Buddhism, these ideas are not presented in moralizing way, and they're not presented as something black and white. Hopes, desires and dreams are not considered bad things (and neither is attachment--the problems with such things are more matter-of-factly presented), and certainly, the grass could be greener somewhere else. Because of this, Travellers and Magicians writer/director Khyentse Norbu maintains appropriate degrees of ambiguity throughout the film. While doing so, he presents a story with important themes that is captivatingly told with beautiful cinematography and excellent performances. Don't miss this one.