Travellers and Magicians (2003) is a road movie incorporating elements of neorealism. It was directed by Dzongsar Jamyang Khyentse Norbu (1961-present) and filmed in its entirety in Bhutan and with an all-Bhutanese cast that, soon after its release, attracted world-wide attention. In its visually unassuming style, the film succeeds in tracing the delusional trajectories of human desire from a Buddhist perspective. The intimate space created by the film’s focus on a few characters, its slow narrative pace, minimalistic dialogue, and arresting yet unembellished mise-en-scène, succeeds in luring viewers into a comfortable dream-like space that incites contemplative reflection on Buddhist elements in the storyline and the ethical dangers that lie in pursuit of dreamlands. In this study, I will selectively investigate aspects that contribute to a nuanced reading of the road movie Travellers and Magicians, both as a “Buddhist film” and as a reflective experience in Buddhist practice. The present contribution will link some of the visual imagery and narrative tropes with themes and interpretations drawn from Tibetan history and culture, Buddhist doctrines, film studies, and Western literature.
目次
Abstract And He Forgot All about America 207 A Story Waiting to Pierce You 208 Travellers and Magicians in Saṃsāra 211 What We Hoped for Yesterday, We Dread Today 214 The Journey is the Goal 217 References 222
