“The Monk and the Gun,” directed by Bhutanese filmmaker Pawo Choyning Dorji, offers a satirical take on the political landscape of Bhutan during its transition to democracy in 2006. Cinematographer Jigme Tenzing’s lush visuals complement the ensemble comedy’s exploration of how mock elections impact various individuals, including a monk, a rural family, an election official, and a city dweller.
The film’s narrative unfolds with the elderly lama of the rural village of Ura requesting two guns from his attendant Tashi before the day of the mock elections, sparking curiosity about his intentions. Meanwhile, election official Tshering oversees the village’s election education, revealing the polarization caused by fictional political parties and media influence. The film critiques how political divisions strain family relationships, particularly evident in Tshomo’s family, torn apart by differing political allegiances.
Dorji skillfully interweaves multiple storylines, including Tashi’s quest for guns and the pursuit of an antique rifle by an American collector named Mr. Ron and his guide, Benji. The juxtaposition of Bhutanese traditional values with American materialism and gun culture underscores the film’s thematic exploration.
As the narrative unfolds, characters’ lives intersect in unexpected ways, reflecting Dorji’s Altman-esque storytelling style. The Bhutanese countryside serves as a backdrop, emphasizing the country’s tranquil beauty amidst its evolving political landscape.
The convergence of storylines at the village stupa symbolizes a moment of transition and reflection for both the characters and the nation. Through its characters’ experiences, the film prompts contemplation on the cost of modernization and the preservation of Bhutanese cultural identity.
Ultimately, “The Monk and the Gun” poses thought-provoking questions about the pursuit of happiness amidst political change and the challenges of balancing tradition with modernity in Bhutan’s evolving democracy.