Shambhala
Introduction
The layers in the movie Shambhala, Nepal’s Official Submission to the Oscars of 2025, lies in its setting and simplicity. Shambhala, an imaginary place set in the Himalayas, is a land where only the pure-hearted can live. But here, the setting of the drama itself is a symbol of duality – the snow-capped mountains of the Himalayas of Nepal represent peace and tranquility that is polluted by patriarchy and customs, whereas the actual place of wisdom and spirituality is a place within the very same people that have polluted the setting. This beautiful setup is represented through the character of Pema who is married to Tashi (the eldest son of the family), Karma (the middle son of the family) and Dawa (the youngest son who is a child) in a polyandrous village in Nepal. The drama is set up in the mountains but the patriarchal clutches of the society aren’t far from the main city – with Pema being married to three men even while later on being accused of infidelity, in what was clearly double standards set with regard to the villagers.
Story & Screenplay
Pema is essentially a character with a pure-heart, and with a clear conscience who is love with only Tashi. Her equation with Dawa switches between being maternal to doubling up as his elder sister. She does take care of him while feeding him and playing with him, while also being firm about his studies that brings her close to the local teacher Ram Sir. This, while her husband does step away for a trading business, only to later get news that Pema is pregnant and that the baby ‘may not’ be his (but Ram’s as per the rumours), that prompts him to cancel his return to his home. The sole driving force of Pema on her eventual journey of self-discovery is to find Tashi and convey the truth to him (that it is indeed her child).
The proceedings are a slow burn and the leisurely vibe of the setting does require patience to sit and observe the smaller nuances of the drama in a state of tranquility. And hence, there are two ways to view the drama – one that is of self-discovery, a perfect reflection of the beautiful mountainous setting, and the other of spiritual awakening that is laced with detachment. So, on her journey of self discovery to begin with, Pema is accompanied by Karma (after being convinced in beautiful pearls of wisdom on how this is also his duty by a local monk Rinpoche), with whom she slowly forms a platonic bond. To begin with, Karma endorses vegetarianism, due to which he even refuses to ride on a horse, much to Pema’s dismay. In many ways, Pema’s journey in the quest of the truth is a symbol for life itself wherein she is acquainted with strange customs (of women having to prove her innocence in matters of culture), or being attached to materialistic things in life like her undying love for Tashi, her baby and her newly found bond with Karma, who is shown to be playing a guitar. These are lesser tranquil moments that may not hold an immediate significance in the larger picture, but timely come as a realisation that life is essentially a collection of such smaller moments that fall between moments of misery and suffering that comes out of attachment.
The writing does create a sense of trance that completely engulfs you almost in a state of cleansing, even as you witness Pema and Karma paying their tributes to a temple in the mountains. Their actions are superficial but in conjuction with the inner transformation that they are unknowingly going through that comes in the form of detachment for each of them. For Karma, his worst fears of not being able to be around Rinpoche in his final days comes true, even as he is duty-bound towards Pema, who reminds him of his greater duties of life. This was Karma’s only sense of detachment that he had to endure, as opposed to that of Pema whose first detachment came in the form of Karma himself, and secondly through her beloved horse that she dearly loved.
The detachment as a virtue is further explored through the character of Pema as she continues her quest towards the truth – firstly by realising that the truth is within her, contrary to what she tried seeking through her husband that she eventually lets go. Her final detachment is also in the form of her unborn baby wherein she undergoes a miscarriage. Shambhala, the highest peak of tranquility and spirituality, is also a title attained after suffering and detachment, which in the case of Pema is also like a rebirth of sorts, beyond the realms of good and bad, right and wrong, and the shackles of the society, all of which do not matter at the end in the larger scheme of things. This journey of self-discovery is beautifully woven in a surreal screenplay that might require patience but is a tranquil journey of spirituality and progression.
Dialogues, Music & Direction
The dialogues are sparingly used with the drama mostly relying on imageries to accompany the narrative. Silence is used wonderfully well in extended periods throughout the drama while utilizing the surrounding sounds wonderfully well to allow the viewers to imbibe the atmospherics of the drama which is laced with tranquility and calmness. The cinematography is beautiful with wide frames capturing the beautiful snow-capped mountains with a touch of grace. In fact, the lurking mountains in most scenes act as a symbol of nirwana, of the quest of achieving the tip of calmness that is within your sight but, in a journey filled with obstacles and suffering. Also, the creative decision to depict spirituality through monochrome frames was excellent, something that added texture to the drama. The editing allows the drama to deftly meander on (which might be a test of your patience) but it was important to soak the viewers in the ambience of the drama. A fast-paced narrative with several cuts wouldn’t have served the purpose, as opposed to this dreamy narrative that thrives in its leisurely pacing. Director Min Bahadur Bham does an immaculate job in lacing the narrative with symbolisms even while constructing a deeply profound drama on spiritual awakening. He often keeps the premise simple was allowing the complexities in the second layer of the drama to take over. He nicely controls this soothing narrative through the actions of the characters that aren’t too overpowering, while beautifully maintaining the thread of spirituality. The direction is excellent here.
Performances
The performances are excellent by the ensemble cast. Tsering Lhamo as Pema’s friend and Janga Bahadur as the Shepherd have their moments to shine. Loten Namling as Rinpoche has a serene presence that he illuminates with his beautiful words of wisdom, figuratively speaking. Karma Wangyal as Dawa reeks of innocence and does such a spectacular job. Karma Shakya as Ram Sir is nicely understated and delivers a dignified performance. Tenzing Dalha as Tashi is quietly charming to begin with but laced with an inherent trace of patriarchy (perhaps due to the society he is brought up in), and he does a wonderful job here in tapping into both of these virtues that in a way act as a nice little character arc for him. Sonam Topden as Karma (notice the name that is representative of perhaps the good deeds of Pema) is simply wonderful to witness. There are conflicting layers to his character wherein he showcases his vulnerability wonderfully well. There is a deftness in his performance that makes his character so grounded, while making for a superbly enacted performance. Thinley Lhamo as Pema is the soul of the drama. There are so many shades to her character that makes you empathize with her even while witnessing her progress in a searing and enlightening character arc. There are so many nuances and emotions that you witness just through her body language, wherein she does a remarkable job in a performance that stays with you long after the film has ended.
Conclusion
As a part of our MAMI coverage, Nepal’s Official Submission to the Oscars of 2025, Shambhala is a beautifully shot tranquil slow-burn on spirituality, detachment, progression and Nirwana that is truly symbolic of its title, wrapped in a drama that accounts for a brilliant piece of trance.