Bhutan’s first entry into the Best International Film Oscar is a warm-hearted, culturally-specific take on the classic fish-out-of-water trope.
★★★✰✰
Tucked away in the Bhutanese mountains is a small village called Lunana. It’s likely you’ve never heard of it, given that its total population sits at just 56 people, and that its location is hard to pinpoint on a map. In fact, the village’s name literally translates to ‘the dark valley’: a valley so far and distant from the rest of the world that the light doesn’t even reach it. When the narrative of Lunana: A Yak in the Classroom starts, our protagonist is also unsure of its whereabouts.
The protagonist in question is Ugyen Dorji (Sherab Dorji), a young aspiring musician from Thimpu, who is stuck in a government-mandated teaching programme. His disdain for teaching is clear to his supervisors and, tired of his constant declarations that he doesn’t want to be there (he dreams of moving to Australia), they decide to send him to the most remote school in the world. He isn’t exactly thrilled at the assignment, especially given that the village is so isolated; even today, it has no electricity. The journey to get there will be a gruelling, tiresome, days-long trek. This trek, in fact, occupies the first forty minutes of the film’s runtime.
Once Ugyen eventually reaches Lunana, aided by villagers Michen (Ugyen Norbu Lhendup) and Singye (Tshering Dorji), he is introduced to the village elder Asha (Kunzang Wangdi) and the children he is expected to teach. Ugyen is shocked at the lack of facilities and resources, his city sensibilities completely thrown. Feeling unequipped and just unwilling, he tells Asha that he cannot stay. The next morning however, the class captain Pem Zam (played by an extremely adorable nine-year-old with the same name) comes to wake him up, and an immediate attachment to the class encourages Ugyen to stick out his term in Lunana.
The rest of the film mainly follows him as he seeks to improve education for the children; along the way, he also learns the importance of yak dung—not only is it the best fuel, but it works as a good writing utensil. As suggested from the film’s title, he also acquires a Yak for his classroom (named Norbu). The eponymous Yak is a gift from Saldon (Keldon Lhamo Gurung), a local Yak herder and singer who Ugyen befriends and shares a vague romantic tension with.
The film is fairly simplistic not only in its narrative, but also in its execution of it. The writing doesn’t explain the quick nature of Ugyen’s character development, so we are left to believe that it is purely the cuteness of these children that drives his change of attitude. In fairness, the children’s cuteness might just be enough that the audience do believe that. However, the film is sustained by its wholesomeness not just in the child characters, but in the warmth that every supporting role emits. From the assertive but tender patriarch found in Asha, to the gentleness of Saldon as she sits in nature, to the wide and welcoming smile of Michen, the village of Lunana invites us to be a part of its community as much as it does Ugyen.
This simplistic nature may well be down to the director’s (Pawo Choyning Dorji’s) quest for authenticity in his portrayal of Lunana. The film was shot on location, with production solely dependant on solar-charged batteries. Of the choice he said: “Though extremely challenging, I specifically wanted to shoot the movie in Lunana, inspired by the purity of the land and the people. I also wanted everyone involved in the production to experience this life-changing journey, so that the authenticity of experience could translate onto the film.”
It is likely also influenced by the number of people making their debut here. Not only is it the directorial debut for Dorji, the entire cast is made up of non-professional actors. Pem Zam shares the same back story as her character, and is a real-life student at Lunana Primary School. In the lead roles of Ugyen and Saldon, Dorji cast two musicians, both of whom have worked with Thimpu-based record label M-Studio.
It is telling that there are musicians at the heart of this film, as the music is undoubtedly one of the strongest elements of Lunana: A Yak in the Classroom. There is an eeriness and mysticism to Yak Lebhi Leder, the yodel they sing throughout the film, that is fully realised through the beautiful clarity and tone of Gurung’s vocals. Many of the other villagers also perform traditional Bhutanese yodels, and every time, the song pierces through the narrative, sending chills down the spine and raising goosebumps. Dorji talks of the purity of Lunana, and this purity is clearly demonstrated through these songs. Though the score is used sparingly, when there is non-diegetic sound, it further adds to the warm and peaceful atmosphere of the film.
Another technical strength of the film is its cinematography, shot by DP Jigme Tenzing. There is a sense of intimacy throughout, the camera often choosing to close in on specific details, or a certain look in a character’s eye. Even in the wide, panning shots of the landscape, the imagery manages to retain that intimacy, creating a connection between the viewer and the Bhutanese mountains. It is a film that’s beauty lies in the unsaid rather than its dialogue; a film whose naturalism provides its tenderness and appeal.
It’s oddly paced, being both a slow-burner and yet somehow rushing through Ugyen’s time in Lunana. That being said, it remains engaging throughout, and its kind heart encourages you to keep going when it does veer into sluggishness. Telltale signs of it being a debut are noticeable, but the vision is clear and the motives are pure: these things are enough to make this Bhutanese flick a gem worth watching.
The Verdict
Whilst its simplistic nature highlights its imperfections, Lunana: A Yak in the Classroom draws audiences into its warm, loving embrace. Its intimate rendering of the village of Lunana and its inhabitants is sure to make your heart feel full, and leave a smile on your face.
Lunana: A Yak in the Classroom is in select UK cinemas from 10 March.
Words by Rehana Nurmahi
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