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A Tibetan monastery-in-exile in the foothills of the Himalayas. Two young boys Palden and Nyima, who have fled from Tibet, are inducted and ordained into the monastic life. However, World Cup fever is sweeping the corridors of this religious institution, much to the bemusement of its elders. Orgyen (Lodro), a fearless 14-year-old, even sneaks out at night to watch matches at a local shop. And he's the one who asks the disciplinarian Geko (Tobgyal) whether or not a satellite dish could be hired from the village for the final itself.
Directed by the eminent Buddhist lama Khyentse Norbu, "The Cup" is the first ever full-length feature to be made in the Tibetan language. It's an immensely likeable and engaging work, filled with genuine humour, and in which the universal themes - the conflict between ancient traditions and modernization, the value of any human endeavour - emerge naturally from the straightforward storyline.
While most cinematic depictions of Buddhism have veered towards the excessively reverential, Norbu humanizes and demystifies his protagonists, stressing their sense of humour and good-natured mischievousness. (As well as following football, the youngsters tease the unkempt yogi (Lama), sneak glances at swim-wear catalogues, and pass messages around during prayers.)
Shot in a simple, semi-documentary style, "The Cup" doesn't ignore the political realities that confront the monks, with the benign Abbot (Chonjor) yearning to return to his Chinese-occupied homeland, and the adolescents deprived of a national team of their own to support. The novice director also draws out some commendable performances from his entirely non-professional cast - the wannabe-Ronaldo figure of Lodro is an especially endearing character - and there's even a playful ending, which incorporates a Buddhist perspective on life.
