Samsara is a graceful, and thought-provoking movie beautifully filmed by Indian film maker Pan Nalin. Although it has been filmed almost two decades ago, screening, editing and framing techniques seem quite modern and advanced. 'Samsara' explores the story of talented, and respected by his sangha, monk Tashi who after living in monastery for twenty years, after spending three years in seclusion what is considered to be an esteemed experience, and after being reverenced by his fellow monks for his 'advanced monastic life', suddenly discovers that he still did not achieve real Enlightenment. This movie showcases a beautifully narrated story, strengthened by fundamental teachings of Buddhism, about the quest to the Enlightened life of a man who is just like every human being is driven by his desires. Samsara is a movie in which everyone would find and see what is close to them, what is bewildering them, and become 'enlightened' about something in their unique perspective. The story of Lama Tashi is explored in a quite comprehensive way. His feelings, his worries, his thoughts and cravings are depicted explicitly. Work of actors was at the highest level, contributing to the overall cohesion and vividness of movie. Especially those comedic scenes where actors did not say much, or did not speak at all were the most touching, and refreshing. Decorations and picturesque landscape of Himalayan mountains, diversity of climatic periods and geographic locations created a vibrant image about lives of inhabitants of that region. While at certain moments it seemed that some scenes were not needed at all, probably in the vision of film director depiction of cravings has to be showed in a such persistent, and insistent mode. And yet overall the picture of the movie is absolutely brilliant, full of symbolism, mystery, and puzzling Buddhist philosophy that is represented from various and occasionally unexpected perspectives. Characters of Pema and Tashi - their passion towards each other, their anxiety towards that alliance, stages and development of their relationships - were uncovered in an exceptionally beautiful way. The culmination scene of the movie - dialogue between Tahir and Pema starts from the narrative of the story of Budddha, Siddhartha Gautama since Tahir decided to leave her and their son just as Buddha Sakyamuni did, in absolutely unforeseen way - from the perspective of Yasodhara woman that was left by her man that went to pursue his Enlightenment. Pema says that the figure of Yasodhara, even her name, is not remembered at all, especially on the contrast scale with the Buddha Enlightened One. She says that the Yasodhara may actually had a tremendous influence on the formation of Buddha's personality. There are two particular things about this scene which I would like to highlight - firstly, it shows the basic Buddhist story from a perspective of feminism which is very unusual for this religious tradition, and second is that it is so well balancing the movie storyline so only because of this scene I could claim that Samsara movie is a work of masterpiece. Although the ending of the film remains quite ambiguous enough, even despite the fact that, in general, Tashi finds the answer to his question, I think that it is the most relevant directorate move as such philosophical movies are better to be non-restrictive to the imagination of the audience. This movie is a decent picture, that I would recommend to view for those who are not really into religious beliefs, who are capable to question and critically assess wisdoms of renowned individuals just as the Tashi did, and for those who want to see a modernized glance to the Buddhism.

A monk decides to leave the ashram to try live in the world as Buddha did before the age of 29, when he left his home and family and went into the world. He falls in love, marries, has a child, works hard for survival and encounters all the usual human hardships. Then, he decides to leave his family and come back to the ashram.This movie is perfect. It tells the story of eternal battle within human soul. Few lines and not one line out of place. Beautiful all the way. Music, cinematography, acting, script, directing... all perfect. One of the best movies I ever seen. It puts Hollywood to shame.

This movie is merely a postcard for the Himalaya. Ladakh is a beautiful place which is currently spoiled by tourism. This movie shows it as an exotic paradise for monks, but has nothing to do with any life on this earth. the seducing concept 'the monks who breaks his vow for the worldly life' sounds like an appealing advertisement concept, to please the western audience in search of some wise spiritual adventure... How can one base a movie, a 'story', to express a message. It's so obvious, and doesn't give any space to the audience ; perhaps the director thinks most of the people are dumb and need a lesson about life. When I see that, I'm just feeling insulted, and sad to see all this money spoiled... The director didn"t take act of the responsibility that he had by deciding to build up this exotic story which gives a wrong impression of what is buddhism, Ladakh and being a monk. If at least there was an artistic interest, a cinematic point of view, but here, nothing, no trace of cinema, only a photographed story... To give an example of a movie which a complete mind-blowing movie experience, I think the movie 'Why did Bodhidharma leave for the east ?" gives it with a huge respect to its audience.

What appears to be a complex exploration of spirituality is to put it mildly - a lame, half-baked con-job. Mind you, the film has very strong production values, it is a well-crafted film - those alone account for my 2 stars. But the questions it tries to raise are childish and the film falls completely flat in the last hour - the filmmaker's intellectual laziness shows through as it descends to melodrama. Not that there is anything wrong with melodrama - but the film sets out on a completely different tone in the beginning. The characters are decidedly stereotypical and the stories and events are particularly predictable and boring. Frankly, the intellectual/spiritual legitimacy that such films get is unnerving.