The movie starts interesting with spiritual feelings about the Buddhist way of living, feeling and thinking. Concentrated on feeling and thinking and trying to understand our connection to the universe and the way people came to life, live, die and how their spirit continues in the next life. After the experience with the eyes closed (part 2), very similar to 2001 but much less impressive. This also applies to the next phase of life in part 3, the ghost of grandma Mon reincarnated in a goat. There the depth of the 1st part completely evaporates. Spirituality and the essence of life and death completely dissolve in the superficial way of life and thinking of the people in the Zambian village. The disappearance of the goat into thin air fits well into the complete nothingness of the 3rd part of the film.
4 Reviews
Unsatisfied feelings after screening, despite or maybe due to the high praises read beforehand. Middle chapter left me nowhere, assumedly merely strange just to be strange
JvH4820 March 2024
Despite, or maybe due to, many high praises, I left the venue unsatisfied after the screening. I assume this movie is not suited for me. I could have known beforehand, with all the ominous words (meditative, moody, let yourself be carried away by image and sound, and so on) prominently present in synopsis and reviews, terms I usually avoid when booking tickets.
I appreciate the logic flow and division in three parts. The first part is enlightening and colorful, for more reasons than the orange cloths worn generally. I found the middle part the least convincing and rather a bit far-fetched. In my opinion showing something different just to be different, merely to let reviewers write about it. The third part is very down-to-earth, needing a better finale, anyway something else than a goat stranded in the middle of nowhere, with a red cord still attached as a silent reminder that humanity failed in proper care for a dumb animal entrusted to them. So far for an overview of my findings. Now for some more detail.
The first chapter shows interesting things about Buddhism and reincarnation, things we already knew but still relevant to mention. That is especially true when said by youngsters who are not brainwashed nor paid to tell these things, but talk from the heart, based on an inner sort of belief. The boy, for instance, who daily reads from a book for an ailing lady with bad eyesight, does it with an express purpose, namely guiding her to enter the process where the spirit separates from the body. As per common belief, she will then enter an "in between" state for which one better can be prepared. Implicitly, we hear other testimonies along this line, things where these youngsters firmly believe in.
The actual "in between" phase is expressed by a multitude of colors and sounds, leaving me nowhere, wondering where this is coming from and what it means. I endured it, partly with eyes closed (as instructed) partly with eyes opened (in disbelief why this was meant to tell us something). As I said before, I probably am not the right person to watch this, failing to feel along with the filmmaker's intentions. I'm a certified nerd, which can offer all the reasons you need to explain my experience.
For the third part we moved to a totally different world, Islamic and in Zambia. The implicit suggestion is that aforementioned elderly lady reincarnated into a goat. Apart from that, we get some details about life there, none very enlightening but anyway. For instance, we hear women complain that harvesting seaweed is not profitable anymore, and that they expect this even to become worse. That is why this sort of work is done by women (they say), as men always choose more profitable means of earning a living.
Compared with the first chapter, where we got some good insights in Buddhism, this third chapter is relatively superficial and outright trivial in existential issues. The child and "her" goat, connected via a long red cord, may be considered a cute couple, but it brings us nowhere. Even worse, she loses the goat eventually, resulting in a sad, wandering animal, stranded in the middle of nowhere, with little hope of being rescued. The still attached red cord works as a dangling reminder of an earlier attachment to humanity, who failed in taking proper care for an animal entrusted to them.
All in all, an original concept but that is all I can say about it. I know I'm contradicting the overall positive judgments I've read everywhere about this movie, but I don't care.
I appreciate the logic flow and division in three parts. The first part is enlightening and colorful, for more reasons than the orange cloths worn generally. I found the middle part the least convincing and rather a bit far-fetched. In my opinion showing something different just to be different, merely to let reviewers write about it. The third part is very down-to-earth, needing a better finale, anyway something else than a goat stranded in the middle of nowhere, with a red cord still attached as a silent reminder that humanity failed in proper care for a dumb animal entrusted to them. So far for an overview of my findings. Now for some more detail.
The first chapter shows interesting things about Buddhism and reincarnation, things we already knew but still relevant to mention. That is especially true when said by youngsters who are not brainwashed nor paid to tell these things, but talk from the heart, based on an inner sort of belief. The boy, for instance, who daily reads from a book for an ailing lady with bad eyesight, does it with an express purpose, namely guiding her to enter the process where the spirit separates from the body. As per common belief, she will then enter an "in between" state for which one better can be prepared. Implicitly, we hear other testimonies along this line, things where these youngsters firmly believe in.
The actual "in between" phase is expressed by a multitude of colors and sounds, leaving me nowhere, wondering where this is coming from and what it means. I endured it, partly with eyes closed (as instructed) partly with eyes opened (in disbelief why this was meant to tell us something). As I said before, I probably am not the right person to watch this, failing to feel along with the filmmaker's intentions. I'm a certified nerd, which can offer all the reasons you need to explain my experience.
For the third part we moved to a totally different world, Islamic and in Zambia. The implicit suggestion is that aforementioned elderly lady reincarnated into a goat. Apart from that, we get some details about life there, none very enlightening but anyway. For instance, we hear women complain that harvesting seaweed is not profitable anymore, and that they expect this even to become worse. That is why this sort of work is done by women (they say), as men always choose more profitable means of earning a living.
Compared with the first chapter, where we got some good insights in Buddhism, this third chapter is relatively superficial and outright trivial in existential issues. The child and "her" goat, connected via a long red cord, may be considered a cute couple, but it brings us nowhere. Even worse, she loses the goat eventually, resulting in a sad, wandering animal, stranded in the middle of nowhere, with little hope of being rescued. The still attached red cord works as a dangling reminder of an earlier attachment to humanity, who failed in taking proper care for an animal entrusted to them.
All in all, an original concept but that is all I can say about it. I know I'm contradicting the overall positive judgments I've read everywhere about this movie, but I don't care.
Stunning
lilyme50919 November 2023
This is a gem! Unlike anything I've ever seen before. Saw this at IDFA, the documentary festival in Amsterdam, though it's not your usual type of documentary is it.
I was really looking forward to this and it didn't disappoint. Beautiful imagery from Laos and such a gentle pace in storytelling. And then, halfway through, the most wonderful experience in a cinema I've ever encountered. And then we're in Zanzibar.
Felt really fantastic to be enjoying this with my fellow movie goers. I plan to remember all the wise words and lessons this beautiful film holds.
Hope to maybe see it sometime again.
I was really looking forward to this and it didn't disappoint. Beautiful imagery from Laos and such a gentle pace in storytelling. And then, halfway through, the most wonderful experience in a cinema I've ever encountered. And then we're in Zanzibar.
Felt really fantastic to be enjoying this with my fellow movie goers. I plan to remember all the wise words and lessons this beautiful film holds.
Hope to maybe see it sometime again.
An experience like no other
FilmMining10120 April 2024
Warning: Spoilers
Reviewed by Filmmining 101:
Not to be confused with Ron Fricke's follow up to his "Baraka" (1992) masterpiece in 2011, Lois Patino's film is an entire different beast altogether. Despite some misleading in the broader sense posters, you really think that you will be immersing yourself into an experimental documentary willing to discuss the circle of life and death through captivating pictures in crystal clear definition.
And you will be wrong. Patino's movie is a rather slow and lyrical representation of rebirth held together by flimsy story threads which do not take the viewer by the hand to wholeheartedly explain or water down the experience. Instead, the dialogues are laconic, minimalistic and scarce throughout a two hour running time enough to span two continents and two wildly different countries populated by common spiritual (not religious) elements that unfortunately in the developed world today are being ignored for shoehorned and superficial socio-political messages under the power of individualism.
"Samsara" might be slow for inpatient viewers - perhaps too slow - with Patino's camera panning lethargically 360s to showcase either a class full of Buddhist monks or a Zanzibarian beach. For others, this could be an excuse to delay a bit our swirling and overwhelming emotions in favour of meditative shots bursting with a wide and lively array of Nature's soothing sounds. The exquisite sound design heavily leans on the latter and less on the nominal dialogue to provide an audio catharsis; those seeking something more than a film will find this approach quite rewarding.
Nevertheless, discussing "Samsara" more would spoil an intriguing and unexpecting surprise that feels like your own personal journey through its poignant story of death and rebirth. Allowing each audience member to contemplate such notions which we tend to ignore these days, a 20 (give or take) minute segment is certain to invoke individual sentiments that potentially have not been felt for a long, long time due to our narcoleptic way of living; a goat represents a powerful metaphor in a world where constant behavioural and even physical perfection is sought by the majority to make room for pointless and hedonistic satisfaction.
"Samsara" should be included in educational curriculum to teach upcoming generations humility, stoicism and above all, savouring the wonderful thing that is life. More of an experience and less than a fully fledged film, Patino makes a bold yet uncompromising and eloquent statement deserving not only your curiosity but your attention too.
Not to be confused with Ron Fricke's follow up to his "Baraka" (1992) masterpiece in 2011, Lois Patino's film is an entire different beast altogether. Despite some misleading in the broader sense posters, you really think that you will be immersing yourself into an experimental documentary willing to discuss the circle of life and death through captivating pictures in crystal clear definition.
And you will be wrong. Patino's movie is a rather slow and lyrical representation of rebirth held together by flimsy story threads which do not take the viewer by the hand to wholeheartedly explain or water down the experience. Instead, the dialogues are laconic, minimalistic and scarce throughout a two hour running time enough to span two continents and two wildly different countries populated by common spiritual (not religious) elements that unfortunately in the developed world today are being ignored for shoehorned and superficial socio-political messages under the power of individualism.
"Samsara" might be slow for inpatient viewers - perhaps too slow - with Patino's camera panning lethargically 360s to showcase either a class full of Buddhist monks or a Zanzibarian beach. For others, this could be an excuse to delay a bit our swirling and overwhelming emotions in favour of meditative shots bursting with a wide and lively array of Nature's soothing sounds. The exquisite sound design heavily leans on the latter and less on the nominal dialogue to provide an audio catharsis; those seeking something more than a film will find this approach quite rewarding.
Nevertheless, discussing "Samsara" more would spoil an intriguing and unexpecting surprise that feels like your own personal journey through its poignant story of death and rebirth. Allowing each audience member to contemplate such notions which we tend to ignore these days, a 20 (give or take) minute segment is certain to invoke individual sentiments that potentially have not been felt for a long, long time due to our narcoleptic way of living; a goat represents a powerful metaphor in a world where constant behavioural and even physical perfection is sought by the majority to make room for pointless and hedonistic satisfaction.
"Samsara" should be included in educational curriculum to teach upcoming generations humility, stoicism and above all, savouring the wonderful thing that is life. More of an experience and less than a fully fledged film, Patino makes a bold yet uncompromising and eloquent statement deserving not only your curiosity but your attention too.
See also
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