We all wear masks. In order to see our true core, one has to remove the mask and peel of the layers of veneer and reveal. And most of us won't like what gets exposed. The Red Phallus makes a bold attempt at that, beautifully disguised in a tranquil, picturesque mountainous locale - a very rustic, laidback remote valley in Bhutan. At least that's the feeling one gets until the able director, Tashi Gyeltshen, through his first attempt starts peeling off the outer picture perfect surface, revealing a disturbing core.
The protagonist Sangay is a 16 year old girl, played poignantly beautiful by Tshering Euden, who appears demotivated while displaying a deep sense of apathy and disinterest in her life and what surrounds her. The only other person in her household is her father who sculpts wooden phalluses (which apparently ward off evil spirits) and also plays Astara in holy festivals wearing a mask and a costume. The third principal character is a young man, who descends from a family of butchers (apparently lineage is important) drives around a tractor and is married with children. He also is someone who is in a relationship with Sangay and implores her to leave the mountainous paradise with him and go to a city. And on every occasion he also does not hesitate to taunt her to be 'not strong enough'. Without giving too much away, the complex triangular relationship between the three principal characters forms the crux of the story and how Sangay finally musters courage and strength to face reality, take things in her own hands to show she is 'strong enough' with tragic consequences.
Patience is required to absorb the slow paced narrative and move along with the story once you get past the bucolic scenery and get immersed in Sangay's life. There are many frames which span a landscape, where the camera is being held steady in a panoramic view, and the character unhurriedly walks from one corner of the frame to the far end corner.
The underlying theme is masks and unmasking them, whether the mask represents the sky, clouds over the mountains or the disturbing events that lay unrevealed within the human beings and in the end it is indeed a worthwhile cinematic journey.
The protagonist Sangay is a 16 year old girl, played poignantly beautiful by Tshering Euden, who appears demotivated while displaying a deep sense of apathy and disinterest in her life and what surrounds her. The only other person in her household is her father who sculpts wooden phalluses (which apparently ward off evil spirits) and also plays Astara in holy festivals wearing a mask and a costume. The third principal character is a young man, who descends from a family of butchers (apparently lineage is important) drives around a tractor and is married with children. He also is someone who is in a relationship with Sangay and implores her to leave the mountainous paradise with him and go to a city. And on every occasion he also does not hesitate to taunt her to be 'not strong enough'. Without giving too much away, the complex triangular relationship between the three principal characters forms the crux of the story and how Sangay finally musters courage and strength to face reality, take things in her own hands to show she is 'strong enough' with tragic consequences.
Patience is required to absorb the slow paced narrative and move along with the story once you get past the bucolic scenery and get immersed in Sangay's life. There are many frames which span a landscape, where the camera is being held steady in a panoramic view, and the character unhurriedly walks from one corner of the frame to the far end corner.
The underlying theme is masks and unmasking them, whether the mask represents the sky, clouds over the mountains or the disturbing events that lay unrevealed within the human beings and in the end it is indeed a worthwhile cinematic journey.
