Crazy football boys from the monastery are trying to get a TV with a satellite dish to watch the World Cup, where their beloved Brazilian team is fighting for medals. A number of comic and dramatic circumstances first interfere, and then still allow them to achieve their goal. You can also look into https://new-gomovies.online/ for the same.
The question is, where does Bhutan, Buddhism, the lama who wrote and put this picture?
Yes, despite the fact that the audience will not know who won the football match. This impossible for western cinema plot insolubility seems quite natural in a mountain monastery, where they teach to live without struggle and purpose. The most exotic country in this strange film is not a country of marvelous beauty, where tourists were allowed to enter only a few years ago, but the quiet teaching of a monk, which reveals an unusual approach to life. At the end of the film, he tells his students:
- We cannot make the whole earth soft as skin, but we can put on shoes. We cannot change the world, which means that we have no choice but to change ourselves.
- No matter how pretty interspersed with foreign cinema in the American film market, foreign films have almost never gone beyond the boundaries of the art ghetto – those few halls in large cities and university centers where esthetes, critics and emigrants gather.
- Against this backdrop, the first truly successful overseas film in US history was sounded louder: the Chinese action movie Crouching Tiger, the Invisible Dragon, by Taiwanese director in America Ang Lee. For the first time, a film in a foreign language has achieved such a resounding success. Having broken all records, he collected more than $ 100 million at the box office, received 10 Oscar nominations and four Oscars, including, of course, the prize for the best foreign film.
The phenomenon of “Tiger and Dragon” (let’s call it for short) finally convinced the world that Asian cinema is now experiencing a real boom. About how leading New York critics interpret the phenomenon of Asian cinema, says Marina Efimova, who has prepared for us a review of materials from the American press.
The Right Success
Incredible success drew the attention of Americans to the place that Asian cinema gradually won in world cinema. (At the same time, we do not even include Japan in the concept of “Asian cinema”, since it entered the world level back in the 1950s and 1960s. Japanese cinema gave the world one of the best directors of the 20th century, Akiro Kurosawa, and one of the best Toshiro Mifune’s actors) No, we are talking about the rest of Asia: about China, Taiwan, Vietnam, Hong Kong, South Korea, i.e. about countries whose films in the 50s-60s were barely visible at international film festivals.
The heyday of Asian cinema in its features does not resemble the heyday of the European (Italian in the 30s, French in the 60s, German in the 70s) It did not appear a single colossal pan-Asian figure (such as it was for Italy Rossellini, for France.
Godard and Fassbinder for Germany). In Asian cinema, no new style has developed (such as, say, “neorealism” in Italian cinema), no new sources of financing have appeared (as in the 80s in Europe, when many governments took over the financing of cinema), and finally, no specifically new audience appeared in Asia, especially since the themes and genres of this new cinema are incredibly diverse.