LOCAL MOVIE INDUSTRY
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Bhutanese movie industry is still at its infancy. Most of the technicians and movie producers/directors have received little or
no formal training. Like any other profession movie industry has become a hot cake for most Bhutanese. Some produce
movies to make few hundred thousands profit most movie producers are believed to make. It by trail and error some senior
movie producers have improved. Bhutanese movie industry still need professionalism, qualified and creative directors and
producers. Today most of themes/stories in Bhutanese movies are copy of Indian cinema.
Most important factor for the development of any industry is the market forces. Bhutan has a very small population and
scattered demographic pattern thus making it difficult for local industries. Bhutan has a population of little over 6 hundred
thousand people speaking different regional dialects which is another hindrance in the development of movie industry in the
kingdom.
Within a short span of time our Film Industry has done a commendable job by producing superb movies within the limited
budget they have in hand.
Movie Reviews
49 Day
Strong religious beliefs and superstitions form the core themes of the 49th Day,
which picked up seven awards including best film of the year, at the 6th National
Film Awards.
Nominated for 21 awards in 27 categories, 49th Day also won awards for lighting,
cinematography, music, child artist, special effects, and the new director award
during the award festival held at the Clock tower square in Thimphu last week.
The movie in an elaborate and well-defined manner portrays the Buddhist belief
of life after death and the rituals involved to mark the transition.
It also delves on the human attachment between mother and child. In the movie
motherly love prevails even after death.
When Yangchen (played by Karma Choden) finds out that her daughter, living with
her father, Lekden (played by Gyem Dorji) and ill-treating stepmother in the capital,
is missing, she rushes to Thimphu. But on the way Yangchen meets with an accident and dies.
Not at peace the soul of the dead mother looks frantically for her daughter and finds her inside a duct but is unable to do
anything. She tries to tell Lekden but cannot be heard.
In frustration, she screams and slaps him and he feels it. He sees the cover of the duct moving by itself and when he opens the
cover, the father finally finds his daughter. This theme is quite well portrayed in the Hollywood hit Ghost.
After coming to know about Karma’s death the rituals are carried out.
In Bhutanese belief, after a person dies an astrological reading is done and besides the cremation, rituals for the dead are
performed on the 7th, 14th, 21st and 49th day.
It is believed that any ritual performed for the dead has to be done by the 49th day, after which the soul of the person realises
he/she is dead and moves on to the next birth stage of fate as decided by the karmic forces.
49th Day plays on this belief and Karma’s soul is liberated from the attachment she has for her child on the 49th day. A
prediction that she would be reborn is made at the end of film and the viewers are left thinking what life form her soul may
take.
According to the director, Namgay Retty, the outcome of the film was satisfying. “The audience took it well because they
could relate to it,” he said.
The two hours 15 minutes film took eight months to complete according to the producers.
KIKHOR
Kikhor, meaning wheel of happiness, offers the usual fare that most Bhutanese films do and is succeeding in pulling the
Thimphu crowd.
Screening at the Lugar theatre since July 1, the two-and-a-half-hour film has somehow managed to appeal to Thimphu’s
Bhutanese moviegoers.
Kikhor starts with a light comedy and then proceeds to an intense family drama with two brothers falling in love with the same
girl and one brother making the ultimate sacrifice in the end.
No different from the usual Bollywood oriented Bhutanese films, many viewers, who include students, officer goers and
housewives, said that the drama of a typical Bhutanese family flavoured by laughter, romance and tragedy set them on.
Kado, an office goer, said he liked the movie because it was realistic. “It upholds the Bhutanese family values, the love and
respect we have for our parents and other members of the family,” he said.
A 45-year old woman who watched the movie twice said she shed tears on both occasions.
Those who liked the movie also found the songs melodious. “The fight scenes were realistic,” another viewer said.
One of the producers, Lekpa Dorji, said the movie was a joint effort to produce something that common people enjoyed.
“Most Bhutanese enjoy watching romantic- tragedy sequence of Hindi movies so we decided to make a similar one,” he said
adding that the movie will also entertain that section of people who are not literate.
While many liked the movie, some said they found it boring and left the hall halfway through the movie. “Our movie makers
should get more creative,” said Kinley, 28, a resident of Taba.
Another said the public being attracted to such a movie was the influence of the Hindi soaps on television. “It’s time that we
move away from conventional family dramas and be more perceptive,” he added.
The making of the movie involved a number of youths who proved to be very talented and enthusiastic. Dechen Dorji, actor
and the assistant director said that most of them had completed Class X and XII.
Produced by Yoezerwang Production, the film was shot in Paro, Chukha and Thimphu over four months on a budget of Nu 1.8
million.
Lengo
Most Bhutanese films, almost always, stir a recurrent anxiety that something is amiss in Bhutanese films. Despite the kindest of
impulses, one can’t help but feel the void in narrative grip, character development and compelling dialogue that make a
good movie.
But as Bhutanese moviegoers become more discerning, there are ample hints, inspite of film maker’s pretending to ignore it,
to make movies that viewers will warm up to. The novelty factor of a Bhutanese film is long worn out.
To many, therefore, the latest local film to be released in Thimphu comes as a delicious surprise. The film ‘Lengo’ (roughly
meaning a Dumb Guy) radiates with abundant traces of hard work and a genuine attempt at good story telling. In many
respects, it’s one of the most engaging local films made so far.
Directed by Chencho Dorji, ‘Lengo’ is an entertaining, albeit sad, tale of a seemingly unrequited love. The story revolves
around a village ‘Lengo’ who is given to living in a fool’s paradise believing fervently that one of prettiest girls in the village is
in love with him as he is with her. But his illusory happiness comes crashing down when the village’s new teacher enters his
life and the life of the object of his love.
The film’s dialogue is strong, the screenplay and transitions are smooth and the camera work seem professional. The film
revels in the raw beauty and the innocence of a rural life and manages to connect it to the story. Most of all the movie avoids
the soapy and maudlin extravagance that such film subjects are prone to invite.
But it’s the performances and the character development that give the film its true appeal. Gyem Dori, in his best role since
“Chepai Bu”, is convincing as the ‘Lengo’ who falls in love, encouraged, albeit complaisantly, by those around him with a girl
who sees him only as a ‘Lengo’, and who faces the disillusion of all the good things he believes in.
As his object of longing and distraction, Karma Choden is a revelation. She manages to capture the rural-girl coyness and
their somewhat natural attraction to all things modern, including men, without making it look cheap.
Rinchhen Namgay, who plays the village teacher, and Karma Dem, who plays ‘Lengo’ mother, are a treat to watch. Other
supporting actors are also equally competent.
But the relationship between ‘Lengo’ and his girl begs more exploration, especially when she is being abandoned by the
teacher; the film simplifies a complex rural culture.
Yet, ultimately it is difficult not to be moved, and feel at home, with the film.
A shot at romantic comedy
REVIEW Success of Bhutanese films, like the Bollywood variety which local filmmakers religiously copy, seem to lean heavily
on the emotional impact: the more the audience dab their wet salty eyes the bigger the chances of the film doing well.
The Pelvision-produced Ashi - the Princess tries a different approach. And it does so successfully, keeping the sober stuff at
the periphery and letting the lighter moments that appeal to the Bhutanese dominate the two-hour film. In fact the humour
element is so pervasive that the first viewers of the movie, currently screening at the Luger threatre in Thimphu, laughed even
during the poignant moments in the film.
Ashi – the Princess is a happy story of Yutha, Thinley and Sanga Rinpoche caught between the wheels of destiny - another
love tale, this time torn asunder by celestial force.
Yutha, a princess (also an identified “Khandum”) is not to be let out of the palace walls until her 25th birthday. She is to wed
Sanga Rinpoche who resides in the same locality.
When Yutha is let out, en route to her prospective groom’s residence, she has an unusual awakening. She wants to drink in the
other world before she is married. Destiny decides her escape when scriptures postpone her marriage for three months and her
prospective groom suggests a visit to Thimphu.
There she meets Thinley a rural–urban migrant who has come to Thimphu in search of a job. They fall in love while Sanga
Rinpoche waits patiently in the village. One of them eventually has to make a sacrifice.
The humour element, the main pillar of this so called romantic comedy is strengthened by the droll performance of Thinley,
the convincing spontaneity of Yutha and the refreshing absence of arid rhetoric.
The film by and large follows the mainstream contemporary quickly-churned out formula and has its fair share of technical
and structural inconsistencies. The sound could have been improved.
Situations and settings, though broad and realistic, are often out of place. The film lacks the unity of time and place and
cinematic propriety. For example, Yutha and Thinley share so many tender and private moments for three months and yet are
not aware that they are from the same village.
The question the film raises is, is true love Dharma?
Choe dang Jigten
The film "The Divine and the Mundane" delves into the inner turmoil of a monk torn between spiritualism and materialism.
Choeda(played by Gyem Dorji) the main character, is the most learned monk in a remote monastery.
One day he is overcome with self-doubt and beings to question his existence. He abandons his faith in the pursuit of a
material life only to suffer every conceivable misery.
How will Choeda find peace and happiness?
Will he be able to repent his sins?
Find out your self
Gyem Dorji who plays the lead role in the movie is one the finest actors in Bhutan's rapidly evolving film industry. He has won
numerous national awards for acting, script and spoken national language.
Kinley Peldon who plays the lead actress has also been recognized for her acting skills at the national level.
Director Chencho Dorji is among the upcoming breed of filmmakers with professional skills in direction and film editing.
Two popular Bhutanese singers, Nidup Dorji & Rinchen Namgay, play the supporting roles.
no formal training. Like any other profession movie industry has become a hot cake for most Bhutanese. Some produce
movies to make few hundred thousands profit most movie producers are believed to make. It by trail and error some senior
movie producers have improved. Bhutanese movie industry still need professionalism, qualified and creative directors and
producers. Today most of themes/stories in Bhutanese movies are copy of Indian cinema.
Most important factor for the development of any industry is the market forces. Bhutan has a very small population and
scattered demographic pattern thus making it difficult for local industries. Bhutan has a population of little over 6 hundred
thousand people speaking different regional dialects which is another hindrance in the development of movie industry in the
kingdom.
Within a short span of time our Film Industry has done a commendable job by producing superb movies within the limited
budget they have in hand.
Movie Reviews
49 Day
Strong religious beliefs and superstitions form the core themes of the 49th Day,
which picked up seven awards including best film of the year, at the 6th National
Film Awards.
Nominated for 21 awards in 27 categories, 49th Day also won awards for lighting,
cinematography, music, child artist, special effects, and the new director award
during the award festival held at the Clock tower square in Thimphu last week.
The movie in an elaborate and well-defined manner portrays the Buddhist belief
of life after death and the rituals involved to mark the transition.
It also delves on the human attachment between mother and child. In the movie
motherly love prevails even after death.
When Yangchen (played by Karma Choden) finds out that her daughter, living with
her father, Lekden (played by Gyem Dorji) and ill-treating stepmother in the capital,
is missing, she rushes to Thimphu. But on the way Yangchen meets with an accident and dies.
Not at peace the soul of the dead mother looks frantically for her daughter and finds her inside a duct but is unable to do
anything. She tries to tell Lekden but cannot be heard.
In frustration, she screams and slaps him and he feels it. He sees the cover of the duct moving by itself and when he opens the
cover, the father finally finds his daughter. This theme is quite well portrayed in the Hollywood hit Ghost.
After coming to know about Karma’s death the rituals are carried out.
In Bhutanese belief, after a person dies an astrological reading is done and besides the cremation, rituals for the dead are
performed on the 7th, 14th, 21st and 49th day.
It is believed that any ritual performed for the dead has to be done by the 49th day, after which the soul of the person realises
he/she is dead and moves on to the next birth stage of fate as decided by the karmic forces.
49th Day plays on this belief and Karma’s soul is liberated from the attachment she has for her child on the 49th day. A
prediction that she would be reborn is made at the end of film and the viewers are left thinking what life form her soul may
take.
According to the director, Namgay Retty, the outcome of the film was satisfying. “The audience took it well because they
could relate to it,” he said.
The two hours 15 minutes film took eight months to complete according to the producers.
KIKHOR
Kikhor, meaning wheel of happiness, offers the usual fare that most Bhutanese films do and is succeeding in pulling the
Thimphu crowd.
Screening at the Lugar theatre since July 1, the two-and-a-half-hour film has somehow managed to appeal to Thimphu’s
Bhutanese moviegoers.
Kikhor starts with a light comedy and then proceeds to an intense family drama with two brothers falling in love with the same
girl and one brother making the ultimate sacrifice in the end.
No different from the usual Bollywood oriented Bhutanese films, many viewers, who include students, officer goers and
housewives, said that the drama of a typical Bhutanese family flavoured by laughter, romance and tragedy set them on.
Kado, an office goer, said he liked the movie because it was realistic. “It upholds the Bhutanese family values, the love and
respect we have for our parents and other members of the family,” he said.
A 45-year old woman who watched the movie twice said she shed tears on both occasions.
Those who liked the movie also found the songs melodious. “The fight scenes were realistic,” another viewer said.
One of the producers, Lekpa Dorji, said the movie was a joint effort to produce something that common people enjoyed.
“Most Bhutanese enjoy watching romantic- tragedy sequence of Hindi movies so we decided to make a similar one,” he said
adding that the movie will also entertain that section of people who are not literate.
While many liked the movie, some said they found it boring and left the hall halfway through the movie. “Our movie makers
should get more creative,” said Kinley, 28, a resident of Taba.
Another said the public being attracted to such a movie was the influence of the Hindi soaps on television. “It’s time that we
move away from conventional family dramas and be more perceptive,” he added.
The making of the movie involved a number of youths who proved to be very talented and enthusiastic. Dechen Dorji, actor
and the assistant director said that most of them had completed Class X and XII.
Produced by Yoezerwang Production, the film was shot in Paro, Chukha and Thimphu over four months on a budget of Nu 1.8
million.
Lengo
Most Bhutanese films, almost always, stir a recurrent anxiety that something is amiss in Bhutanese films. Despite the kindest of
impulses, one can’t help but feel the void in narrative grip, character development and compelling dialogue that make a
good movie.
But as Bhutanese moviegoers become more discerning, there are ample hints, inspite of film maker’s pretending to ignore it,
to make movies that viewers will warm up to. The novelty factor of a Bhutanese film is long worn out.
To many, therefore, the latest local film to be released in Thimphu comes as a delicious surprise. The film ‘Lengo’ (roughly
meaning a Dumb Guy) radiates with abundant traces of hard work and a genuine attempt at good story telling. In many
respects, it’s one of the most engaging local films made so far.
Directed by Chencho Dorji, ‘Lengo’ is an entertaining, albeit sad, tale of a seemingly unrequited love. The story revolves
around a village ‘Lengo’ who is given to living in a fool’s paradise believing fervently that one of prettiest girls in the village is
in love with him as he is with her. But his illusory happiness comes crashing down when the village’s new teacher enters his
life and the life of the object of his love.
The film’s dialogue is strong, the screenplay and transitions are smooth and the camera work seem professional. The film
revels in the raw beauty and the innocence of a rural life and manages to connect it to the story. Most of all the movie avoids
the soapy and maudlin extravagance that such film subjects are prone to invite.
But it’s the performances and the character development that give the film its true appeal. Gyem Dori, in his best role since
“Chepai Bu”, is convincing as the ‘Lengo’ who falls in love, encouraged, albeit complaisantly, by those around him with a girl
who sees him only as a ‘Lengo’, and who faces the disillusion of all the good things he believes in.
As his object of longing and distraction, Karma Choden is a revelation. She manages to capture the rural-girl coyness and
their somewhat natural attraction to all things modern, including men, without making it look cheap.
Rinchhen Namgay, who plays the village teacher, and Karma Dem, who plays ‘Lengo’ mother, are a treat to watch. Other
supporting actors are also equally competent.
But the relationship between ‘Lengo’ and his girl begs more exploration, especially when she is being abandoned by the
teacher; the film simplifies a complex rural culture.
Yet, ultimately it is difficult not to be moved, and feel at home, with the film.
A shot at romantic comedy
REVIEW Success of Bhutanese films, like the Bollywood variety which local filmmakers religiously copy, seem to lean heavily
on the emotional impact: the more the audience dab their wet salty eyes the bigger the chances of the film doing well.
The Pelvision-produced Ashi - the Princess tries a different approach. And it does so successfully, keeping the sober stuff at
the periphery and letting the lighter moments that appeal to the Bhutanese dominate the two-hour film. In fact the humour
element is so pervasive that the first viewers of the movie, currently screening at the Luger threatre in Thimphu, laughed even
during the poignant moments in the film.
Ashi – the Princess is a happy story of Yutha, Thinley and Sanga Rinpoche caught between the wheels of destiny - another
love tale, this time torn asunder by celestial force.
Yutha, a princess (also an identified “Khandum”) is not to be let out of the palace walls until her 25th birthday. She is to wed
Sanga Rinpoche who resides in the same locality.
When Yutha is let out, en route to her prospective groom’s residence, she has an unusual awakening. She wants to drink in the
other world before she is married. Destiny decides her escape when scriptures postpone her marriage for three months and her
prospective groom suggests a visit to Thimphu.
There she meets Thinley a rural–urban migrant who has come to Thimphu in search of a job. They fall in love while Sanga
Rinpoche waits patiently in the village. One of them eventually has to make a sacrifice.
The humour element, the main pillar of this so called romantic comedy is strengthened by the droll performance of Thinley,
the convincing spontaneity of Yutha and the refreshing absence of arid rhetoric.
The film by and large follows the mainstream contemporary quickly-churned out formula and has its fair share of technical
and structural inconsistencies. The sound could have been improved.
Situations and settings, though broad and realistic, are often out of place. The film lacks the unity of time and place and
cinematic propriety. For example, Yutha and Thinley share so many tender and private moments for three months and yet are
not aware that they are from the same village.
The question the film raises is, is true love Dharma?
Choe dang Jigten
The film "The Divine and the Mundane" delves into the inner turmoil of a monk torn between spiritualism and materialism.
Choeda(played by Gyem Dorji) the main character, is the most learned monk in a remote monastery.
One day he is overcome with self-doubt and beings to question his existence. He abandons his faith in the pursuit of a
material life only to suffer every conceivable misery.
How will Choeda find peace and happiness?
Will he be able to repent his sins?
Find out your self
Gyem Dorji who plays the lead role in the movie is one the finest actors in Bhutan's rapidly evolving film industry. He has won
numerous national awards for acting, script and spoken national language.
Kinley Peldon who plays the lead actress has also been recognized for her acting skills at the national level.
Director Chencho Dorji is among the upcoming breed of filmmakers with professional skills in direction and film editing.
Two popular Bhutanese singers, Nidup Dorji & Rinchen Namgay, play the supporting roles.
NATIONAL FILM
AWARD 2007
Namgay Retty’s 49th Day
bagged three awards, the
best movie of 2006, best
music awards, best child
artist at the 6th National
Film Award held at the
Clock tower square in
Thimphu on May 2.
The best actor award was
awarded to Nguldrup Dorji
for his role in Saang Wai
Charo and newcomer
Sangay Chodon Tenzin
bagged the best female
actor award for her
astounding role in The
Rose. She also got the best
female newcomer award for
her role in the same film.
Director Palden Dorji was
awarded the award for the
best director for Euchung
Lhamo, which also bagged
the best storyline award.
A total of 24 artists received
awards in 27 categories at
the award ceremony
AWARD 2007
Namgay Retty’s 49th Day
bagged three awards, the
best movie of 2006, best
music awards, best child
artist at the 6th National
Film Award held at the
Clock tower square in
Thimphu on May 2.
The best actor award was
awarded to Nguldrup Dorji
for his role in Saang Wai
Charo and newcomer
Sangay Chodon Tenzin
bagged the best female
actor award for her
astounding role in The
Rose. She also got the best
female newcomer award for
her role in the same film.
Director Palden Dorji was
awarded the award for the
best director for Euchung
Lhamo, which also bagged
the best storyline award.
A total of 24 artists received
awards in 27 categories at
the award ceremony
