16-year-old Sangay lives with her father, a traditional craftsman of wooden phalluses, in a remote valley of Bhutan. She is unhappy, feeling trapped and surrounded by people who live by their stringent beliefs, when her father discovers that she is seeing a married man from a lower social class.
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O silêncio significativo, a todo momento evocado e posto ao espectador, enfatiza a paisagem de tons nublados, trazendo o sentimento de desconforto durante todo o filme. Assim, o caminhar da personagem, em conjunto com os enfoques narrativos -misoginia, estupro e controle social- são sentidos em suas diversas e intensas intensidades. Ótimo filme!
Impresionante uso de la luz y los silencios. Cuenta con rigurosa economía una historia en la que la hipocresía, los roles de género y las diferencias de clase social (basadas en la ideología religiosa de la reencarnación) terminan por explotar en un angustioso grito.
Anyone familiar with Virginia Woolf's A Room of One's Own, Chapter 3 will readily see why this film joins the 100 year fight for feminism, which only means equality between women and men. It requires real change, not simply words.
You don't need to have an anthropology background to know of the role of phallus icons in the cultures of South Asia. My background acquainted me exhaustively with the collision of psychoanalytic theory & structural semiotics in mid-century France. "Mastery" over the signifier = phallic mastery. We might avver that Gyeltshen's feature debut suggests a cinema of the icon-phallus forged parallel to the phallic domain.
Beautiful, lush cinematography. A world imagined by the West as possessing secrets of Eastern wisdom, yet people think the same thoughts and commit the same crimes. Bhutanese culture has been criticized for its overwhelming misogyny, stemming from a perception of women as "impure." The film shows the toll this oppression takes on Sangay---one can feel it in her reluctance to even get out of bed. Devastating.
Once we get past the picturesque mountains that are beautifully captured and presented, there is a deeply moving story that gets unfolded amongst the three main characters. As the masks of each character gets peeled off to show the true persons beneath, the real story begins but culminates rather tragically. Patience is required to absorb the slow paced narrative to reveal a Bhutan that is no different from the rest.
The film doesn't support a recent conception of the Bhutanese are generally happy people. Not a drop of happy in this bleak tale. Instead, we have another, albeit culturally specific, example of the ubiquitous truth that seemingly placid traditional cultures are often as rife with trauma as their urbane cousins.
Fotografia deslumbrante, retrato inusual do "país da felicidade", mostrado numa dolorosa faceta tradicionalista, opressora e misógina. A direção é muito boa, com paixão declarada pelas paisagens locais. Tinha tudo para ser um filme magnífico, mas os diálogos incomodam, pois são repetitivos e não enfrentam de frente os preconceitos denunciados. Uma certeza: estamos diante de um cineasta a ser observado! (WPC>)