© TIFF
In his second feature film, “The Monk and the Gun,” Bhutanese filmmaker Pawo Choyning Dorji presents a multifaceted story of various characters, each with a unique perspective on the influence of globalization on Bhutan and the country´s transition to democracy in 2006. Against the stunning mountainous landscapes, this culturally rich film offers a brilliantly written critique of a society caught between the perseverance of their culture, Westernization, and enforced ‘modernity’.
Directed by: Pawo Choyning Dorji
Year: 2023
Country: Bhutan, France, USA, Taiwan
Length: 107 minutes
The tale, inspired by historical events, is set in the town of Ura, amidst a period of significant transformation. Recently, television and the internet have made their debut, and the imminent arrival of democracy marks the most substantial shift of them all. The film presents a mock election aimed at informing the villagers about the democratic procedure, featuring three hilariously stereotypical emerging parties: Blue, championing liberty and fairness; Red, advocating for industrial growth, and Yellow, advocating for conservation efforts. Nevertheless, for a considerable number of Bhutanese people, democracy is not a welcome novelty, but rather a foreign concept that could lead to uncertainty and upheaval.
In the village, the elder monk, Lama, seems to sense a deep looming crisis and confides in Tashi, a younger monk, about the need for “two guns by the full moon” for a mysterious ritual. Tashi, never having seen a gun in his life, goes on a journey to find the guns and encounters several other characters with different motivations on his path. The ritual also becomes a manipulative tool for the authorities when a government official hears about it from the honest Tashi. The officials aim to exploit the gathering to boost voter turnout, which is just one example of how Dorji criticizes the authorities for using local culture to further their political agendas. Driven by foreign pressure to appear “modern,” the authorities are willing to go to great lengths to achieve their objectives.
The film boldly depicts the effects of Western influence on the long-preserved indigenous culture. From the appearance of James Bond on various televisions to the widespread acceptance of American brands and Western customs replacing age-old traditions, the viewer bears witness to the sudden changes faced by a society grappling with globalization. A powerful moment in the movie involves a character rejecting the notion of celebrating birthdays as “meaningless,” underscoring the clash between native beliefs and imposed Westernization. The director raises a vital query through this: Does democracy actually deliver the advantages it purports to provide?
The newly introduced electoral system has caused discord in the community. Choephel, a local resident, is upset that his mother-in-law plans to vote for a candidate he dislikes, which causes tension between the two. Bribery and treachery have quickly become common in this new democracy, highlighting the unsuitability of enforced Western-style elections in a society that is not accustomed to the Western way of living. In another revealing incident, a woman named Tshomo confronts an election worker about her daughter being bullied due to her father’s political affiliations. The official reassures her that “soon it’ll pass and everyone will be happy and prosperous.” Tshomo responds, “But madame, we were always happy,” which emphasizes the negative impact of imposing Western ideals on a society that did not ask for them.
The movie’s plot becomes more detailed with the addition of Ronald Coleman, an American arms dealer. His character highlights the criticism of Western influence that the film aims to convey. Coleman pretends to be a visitor to Buddhist temples, but his actual mission is to buy a locally treasured gun for $75,000, which is worth a lot more than he leads on. Coleman’s character represents the wider Western imperialism that the movie critiques. It exposes how these powers often operate under disguises and try to exploit cultures that remain largely preserved from global influence. Dorji clearly has lots of fun writing this character arc, poking fun at American culture and its obsession with weapons. Meanwhile, the Bhutanese officials, blinded by a worldview fueled by American exceptionalism, seek Coleman´s advice on how to achieve a successful democratic society, which becomes even more ironic when considering recent events in the US. Using all the aforementioned characters and plots Dorji is able to weave together an intelligent portrait of a transforming society.
In summary, “The Monk and the Gun” is a remarkable film that skillfully interweaves humor and deep socio-political insights. Its powerful message speaks out against imposed Westernization and political imperialism, illustrated through the eyes of a tapestry of characters who are directly affected by these forces. Dorji’s cinematic triumph eloquently advocates for the unimpeded evolution of non-Western nations on their own terms, free from external influences or coercion. This message is particularly significant in light of the West’s ongoing efforts to spread their “democratic” ideals across the world.
“The Monk and the Gun” screens at the 2023 Toronto International Film Festival as part of its Centrepiece lineup
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