Cinema lost one of its most original filmmakers when Pema Tseden passed away in May 2023. Before his death, the Tibetan director, known for making realistic and slow movies depicting simple life, produced 23 films. One of the last projects under his care is Dargye Tenzin‘s debut, nominated for the Grand Prix at the 40th Warsaw International Film Festival, and for the Jury Award at the 15th First Youth Film Festival, “Tashi”.
When middle-aged Tashi (Dan Geng) returns to his hometown, he starts reminiscing his childhood – specifically how in elementary school, he rescued a stray dog that was named after him. Young Tashi (Gyatso Jigme) spends his days going to school, doing homework, and hanging out with his friends. While taking a trip down the memory lane, and speaking with his old friend, the present day Tashi learns a surprising truth about the past.
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Just like Tseden, Tenzin decides to focus on presenting the everyday life of people in rural area of Tibet. The story, which, as the writer-director admitted, draws from his childhood memories, unveils through many time jumps between the present and the past. In the present, Tashi, despite becoming a renowned writer, seems to be far from happy. In complete contrast are scenes from the past when young Tashi was a much more frivolous and joyful person.
The director, by creating a protagonist with vision problems, seems to comment on the rapid development of society, which has lost sight of what truly matters – the appreciation of simple existence. This is most evident through one character who organizes film screenings in the village. He is a petty criminal who has no regard for the traditional way of living and simply wants to make a profit. Young Tashi and his friends are fascinated with his TV set, but to their disappointment, the newly opened place where the movies are shown faces opposition from the village’s religious residents.
Complemented by traditional music by Yuzhe Song, the calm and static cinematography by Chao Fan is captivating and fits with the narrative. The audience can admire raw and sandy landscapes, typical for movies from this region. The acting is solid, with characters portrayed largely by individuals with little experience, blending seamlessly into the narrative without overshadowing the story.
Tseden, with his carefully framed, leisurely paced, and down-to-earth style of filmmaking, became a pioneer of the Tibetan New Wave cinema, and an often-awarded director. This approach is clearly visible in his protégé’s debut. “Tashi” is a contemplation about the constant struggle between the old and the new, the traditional customs and technological progress. Although the delivery of the message is rather simple, the picture deals with complex topics, as it explores diverse perspectives among people during quickly changing times, as well as the boundaries between memories and truth. For this reason, one can be optimistic that Tenzin will properly continue Tseden’s legacy.
