But that's just what Khyentse Norbu was doing Monday as he presented "The Cup", his directorial debut and the first-ever Bhutanese entry in Cannes.

Dressed in traditional garb and accompanied by two fellow monks who starred in the film, Norbu kept his audience smiling as he sat under a tent on the Croisette Boulevard describing his cinematographic experience and the real life events that inspired the film.

"Maybe my film is kind of unusual because in places like Bhutan and Tibet, making film is not popular, especially not by a lama," he grinned.

"I'm supposed to be sitting in a cave meditating or on a throne teaching people."

The film, part of the Director's Fortnight lineup, was widely applauded at its premiere screening with several critics saying it stood a good chance of outshining the other entries and winning the Golden Camera award for first-time directors.

Filmed at the Chokling Monastery nestled in the picturesque foothills of the Himalayas, "The Cup" was inspired by real events with most actors playing their real life roles, including Jamyang Lodro, a 14-year-old soccer-obsessed monk.

"I wrote the script based on a true story that has actually happened in a school that I am actually running," the 37-year-old exiled lama said.

"I had no political intention in making this film... but if it raises people's consciousness about the situation of Tibetan exiles then I guess I'll take that as a bonus."

Norbu's resume compared to fellow directors on the Croisette is unusual by any standard.

He was recognized at the age of seven as the incarnation of Jamyang Khyentse Wangpo, a great 19th-century religious reformer and saint who played a pivotal role in protecting Buddhist religion in Tibet.

He is also throne-holder of the Dzongsar Monastery in eastern Tibet and spiritual leader of several monasteries.

His interest in filmmaking, he said, came at the age of 19 when he first discovered television and cinema productions by great directors like Satyajit Ray, Ozu and Andrei Tarkovsky.

He began his apprenticeship under Bernardo Bertolucci during the making of the "The Little Buddha" and began working on "The Cup" shortly after the 1998 soccer event.

"I thought making a film would be a good medium to express Buddhist thoughts and philosophy," he said, adding that Tibetan tradition played a key role during the production process with oracles, yogis and diviners consulted at every stage.

"We Tibetans are known as being very superstitious ... I did the casting, chose the day of filming and the film label, Fuji or Kodak, by consulting with the ancient Tibetan Buddhist divination system of 'mo'," Noru said.

And the system apparently worked well, as he had been approached by several Hollywood executives interested in setting up a company that specializes in using the divination process for US productions.

The ultimate blessing for the cast, however, would be a thumb's up from the Dalai Lama, Tibet's spiritual leader.

"He has not seen the movie but he has heard about it," Norbut said. "We think he would be really happy to see it because it is a very realistic portrayal of Tibetan life in exile."

[ Homepage ] [ NewsRoom ]



This site is maintained and updated by The Office of Tibet, the official agency of His Holiness His Holiness the Dalai Lama in London. This Web page may be linked to any other Web sites. Contents may not be altered.
Last updated: 19-May-99