A humble beginning
The story of Bhutanese cinema is relatively young, with its roots tracing back to 1989 when the first Bhutanese feature film, Gasa Lamai Singye, was produced. Directed by Ugyen Wangdi, the film marked the dawn of a new era in Bhutanese storytelling. However, it was not until 1999, with the release of The Cup (Phörpa), directed by Khyentse Norbu, that Bhutanese cinema truly began to gain international recognition.
The Cup, a heartwarming tale of young monks obsessed with the FIFA World Cup, was Bhutan’s first official submission to the Academy Awards and screened at the Cannes Film Festival. This groundbreaking film not only put Bhutan on the global cinematic map but also set the stage for a new generation of filmmakers to explore their craft.
Growth of local film industry
The Bhutanese film industry has grown steadily over the years, with a diverse range of films being produced annually. From romantic dramas and comedies to thrillers and historical epics, Bhutanese filmmakers have explored a variety of genres. On average, the industry produces around 20–30 films per year, a significant increase from the early 2000s when only a handful of films were made annually.
Despite this growth, the industry faces challenges, particularly in terms of infrastructure. Bhutan has a limited number of cinema screens—just about five across the country, primarily in urban centers like Thimphu and Paro. This limited access to theaters has often restricted the reach of local films, making it difficult for filmmakers to recover production costs.
However, the advent of Over-the-Top (OTT) platforms has begun to transform the industry. Platforms like Samuh, Bhutan’s first local streaming service, have provided filmmakers with new avenues to showcase their work. These platforms not only increase accessibility for local audiences but also allow Bhutanese films to reach global viewers. The rise of OTT has also encouraged filmmakers to experiment with diverse storytelling formats, from short films to web series, further enriching the industry.
Bhutanese films on the global stage
In recent years, Bhutanese cinema has experienced a renaissance, with several films gaining international acclaim. One of the most notable examples is Lunana: A Yak in the Classroom (2019), directed by Pawo Choyning Dorji, which was nominated for the Oscars. The film tells the story of a young teacher sent to one of the most remote schools in the world, Lunana, and his transformative journey. It became the first Bhutanese film to be nominated for the Academy Awards in the Best International Feature Film category—a historic milestone for Bhutanese cinema.
His second feature, The Monk and the Gun, premiered at the Telluride Film Festival and has been widely praised for its unique storytelling and cultural depth. The film is a testament to Pawo’s ability to weave universal themes into distinctly Bhutanese narratives, solidifying his place as one of Bhutan’s most influential filmmakers.
Dechen Roder, another prominent Bhutanese filmmaker, has made waves with her short films and features. Her debut feature, Honeygiver Among the Dogs (2016), is a gripping mystery set against the backdrop of rural Bhutan. The film premiered at the Toronto International Film Festival (TIFF) and was lauded for its atmospheric storytelling and exploration of gender dynamics.
Her recent feature, I, the Song (2024), is a lyrical exploration of identity and memory, blending documentary and fiction to tell a deeply personal story. The film has been screened at several international festivals, further cementing Roder’s reputation as a visionary filmmaker.
The Red Phallus (2018), directed by Tashi Gyeltshen, made headlines for its bold narrative and visual style. The film, which delves into themes of tradition, gender, and societal expectations, was screened at the Busan International Film Festival and several other prominent festivals around the world.
While feature films have garnered much attention, Bhutanese documentary filmmakers have also made significant contributions to the global cinematic landscape. Suraj Bhattarai’s The Next Guardian (2017) is a poignant exploration of tradition and change, focusing on a young boy being groomed to become the next guardian of a 16th-century Buddhist monastery. The film premiered at the International Documentary Film Festival Amsterdam (IDFA) and was praised for its intimate portrayal of Bhutanese culture.
His recent work, Agent of Happiness (2024), delves into Bhutan’s unique Gross National Happiness (GNH) philosophy. The documentary follows a surveyor tasked with measuring the happiness of Bhutanese citizens, offering a thought-provoking look at the intersection of tradition and modernity.
As Bhutanese cinema continues to evolve, it remains deeply rooted in the country’s cultural and spiritual heritage. Films often reflect Bhutan’s unique philosophy of GNH, emphasizing themes of compassion, community, and harmony with nature. This authenticity is what sets Bhutanese cinema apart and makes it so compelling to global audiences.
