" The Monk And The Gun " - Another Masterpiece by Pawo Choyning Dorji

Pawo Choyning Dorji's most recent cinematic creation, "The Monk and the Gun," left a significant impression at the 50th Telluride Film Festival this past weekend. The film is now poised for its premiere at the Toronto International Film Festival this week. In a candid conversation with Kuensel, Pawo Choyning expressed his aspiration for this film to illuminate the distinctive qualities of Bhutan, especially for the younger generation.

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"Bhutan holds a unique place in history, being the last country to connect to the internet and introduce television," Pawo Choyning remarked. He added, "Moreover, Bhutan stands as the only nation worldwide where democracy was peacefully ushered in by His Majesty the Fourth King, and the transition to democracy occurred without the turmoil and revolution that marked similar transitions elsewhere."

Bhutan embarked on an exceptional journey when Pawo Choyning Dorji's remarkable film, "Lunana, A Yak in the Classroom," secured the nation's first-ever nomination in the esteemed Best International Feature Film category at the Academy Awards. Shortly after this achievement, Dorji unveiled his second cinematic masterpiece, "The Monk and the Gun," which Bhutan has submitted for consideration in the 2024 Academy Awards' Best International Feature Film competition. This significant announcement followed the film's world premiere at Telluride and preceded its Canadian debut at the Toronto International Film Festival.

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The decision to submit the film was made by the Committee for Selection of Films for International Awards, established by the Bhutan InfoComm and Media Authority (BICMA).

Set against the backdrop of Bhutan in 2006, "The Monk and the Gun" may initially appear as a work of fiction and satire to many filmmakers and critics, especially those unfamiliar with Bhutan or its transition from an absolute monarchy to a democratic constitutional democracy. However, for Bhutanese audiences, the film evokes memories of an unprecedented political transformation when Bhutan's Fourth King voluntarily abdicated the throne, leading to democratic elections in 2008.

As depicted in the movie, this transition required educating the population about democratic principles, elections, and the importance of voting—a formidable task undertaken by the Election Commission of Bhutan (ECB).

The film transports us to a remote monastery in Ura, northeastern Bhutan, where a lama listens to the radio news with disapproval before summoning a young monk. He solemnly declares that the country has veered off course, a sentiment that resonated with many Bhutanese citizens. When the Fourth King and His Majesty the King, who was then-Chhotse Penlop, embarked on a nationwide campaign to discuss the transition and the new Constitution, a unanimous chorus emerged: "We do not need democracy when we already have one of the world's finest governance systems."

When the young monk is asked about the upcoming election, he responds humorously, joking, "Is that the new pig disease?" Despite the film's satirical take on global democracy, a significant portion of the Bhutanese population genuinely believed that democracy would disrupt their nation, viewing it as akin to fledgling and failed democracies worldwide—a disease.

The inclusion of "Gun" in the film's title, along with references to "James Bond," serves as a poignant reminder that despite their unfamiliarity with democracy and elections, Bhutan was far from a medieval society.

Indeed, those were "strange times," a period when a King voluntarily abdicated the throne and called for elections, a time when people perceived democracy as an ailment, and a time when people expressed their desire for Bhutan to remain an Absolute Monarchy.

As Dorji himself explained to Deadline, "I found it profoundly intriguing that the Bhutanese people were presented with the gift of democracy but hesitated to embrace it. They still longed for their King's rule, and I believed it was a unique story to share with the rest of the world."

Moreover, "The Monk and the Gun" underscores the existence of numerous untold and extraordinary stories about Bhutan, stories that have yet to reach the global stage. It also serves as a reminder to aspiring Bhutanese filmmakers that there are countless themes waiting to be explored—opportunities abound. Furthermore, Bhutanese actors now have the chance to be recognized by international filmmakers.

What does the movie entail?

In the year 2006, the Kingdom of Bhutan witnessed a significant historical turning point when its King abdicated the throne, marking the beginning of its transformation into the world's youngest democracy. This heartwarming ensemble drama follows the journeys of monks, villagers, city dwellers, and one unsuspecting foreigner, capturing the peculiar and wondrous moments of this transition.

Bhutan, having no prior experience with elections, government officials organized a simulated election as a training exercise. However, even the simple task of registering voters proved challenging in regions where people lacked knowledge of their birthdates. In the village of Ura, an elderly lama, recognizing the sweeping changes in his country, instructs a monk named Tandin Wangchuk to procure a pair of guns. Concurrently, Benji, portrayed by Tandin Sonam, takes on the role of hosting and translating for Ron, an American antique arms collector who has arrived to acquire a coveted 19th-century rifle. With a generous offer on the table, Ron assumes the transaction will be straightforward. He fails to anticipate that, just as the Bhutanese are unfamiliar with democracy, they also prove resistant to the principles of commerce.

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Directed by Pawo Choyning Dorji, known for the 2019 Oscar-nominated film "Lunana: A Yak in the Classroom," and set against the backdrop of Bhutan's meandering streams and lush hills, "The Monk and the Gun" cleverly unveils the significance behind its title towards the latter part of the story. At that moment, this playful and wise film evolves into a poignant parable about the challenges of embracing modernity without confronting one's past.