The World of Movies: The Cup
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we join a group of Buddhist monks – and football fans! – in this feature from Bhutan.
The Cup.
May contain spoilers.
With this year’s Academy Awards, Lunana: A Yak In the Classroom became Bhutan’s first Oscar nominee for Best International Film. Any country can submit one film per year for consideration, but depending on the industry and filmmaking field, some can go years between submissions. Lunana is simultaneously the country’s second and third submission to the category (long story). Who wouldn’t be a little curious about the first?
The Cup (Khyentse Norbu, 1999) takes place in a Tibetan monastery in the Himalayan regions of India. This peaceful, remote place is held at some separation from the world, and is a frequent destination for Tibetan monks seeking safety. Two boys are sent as novices for just this reason. While the community welcomes them, and they accept their new life, their minds are often on other things – namely, the World Cup happening in France, some 7500 kilometres away. The monks are taken aback by their obsession with “two civilized nations fighting over a ball”, at least at first.
It may sound like a zany comedy, and some parts of it are quite funny, but the film does not lose sight of its larger context. The two boys’ mission is at the centre of the story, and gradually draws in the rest of the characters. The film always reminds us, though, of the complex political situation surrounding Tibet, addressing the most delicate nuances of the characters’ position. Simultaneously, as the younger monks and novices are increasingly drawn to televised games, the older generation worries about this new influence – a valid question in an age where globalization frequently bumps up against tradition.
The Cup.
Even as it navigates these heavy topics, the film has a lot of charm. Part of this is down to the cast, particularly the younger actors, who play out their escapades with gleeful determination. Lama Chonjor also stands out as the abbot. The screenplay leaves plenty of room for amusing exchanges and great character moments, solemn and funny alike. It’s the rare film where no character is a villain, and everyone is acting in good faith. The drama is low, at least in this moment, but happily, it’s the opposite of boring. Some of its most exciting moments still maintain a touch of serenity.
The Cup is uplifting, but leaves enough room to be solemn, which keeps it from becoming frivolous. Its able cast and adroit writing, as well as its quiet commentary on significant topics, elevate what could be a cliched story. For insight as well as entertainment, and in particular an appeal to a wide range of ages, it is a fresh and thoughtful pick for movie night.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Ryerson University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.