A Cinematic Reincarnation with “Samsara”

Spanish director Lois Patiño takes spectators on an unconventional cinematic journey through reincarnation, where the unexpected unfolds. And I — a mere viewer — died in the cinema, only to be reborn.

Sense of Wander: ★★★★★

The mosaic tesserae from the temple depicts an elephant, superimposed onto the scene of a monk enjoying what appears to be a tranquil afternoon nap.

Have you ever wondered if there’s life beyond death, resonating with the ancient Egyptians’ belief in an afterlife journey guided by Osiris? Do you believe in the possibility of reincarnation, where you, me and those around us traverse a new existence, as envisioned by the cyclical rebirth at the heart of Hindu and Buddhist philosophies? Together with Spanish director Lois Patino’s film, Samsara, we are confronted with these age-old questions, and brought onto a fascinating cinematic adventure that blurs the boundaries between life, death, and rebirth.

The term “samsara” originates from Sanskrit, translating to “wandering” and “world”. It also conveys the notion of “cyclic change” or, in simpler terms, “running around in circles.” This echoes the continuous cycle of birth, life, death, and rebirth embraced by certain religions, especially Hinduism and Buddhism. The film’s title, Samsara, hints at a soul’s journey through different states of existence, woven with the threads of karma — our actions and deeds.

Samsara unfolds against the backdrop of a Buddhist temple in Laos, where the chants of teenage monks permeate the air. Amidst these sacred tones, we encounter Be Ann, a teenage monk, who crosses path with Amid, a boy from a nearby village.

Amid is a familiar presence in Mon‘s life, a bedridden old lady at the brink of life’s final chapter. On every visit, Amid reads to her from a Tibetan Buddhist scriptures, weaving verses that transcend the boundaries of life and death. The moment arrives as Mon takes her last breath, yet Amid remains undeterred, seated beside her, reading. His words become a guiding force accompanying Mon’s soul through the “Bardo” — a liminal state that is neither fully dead nor alive.

Originated in Tibetan Buddhism, Bardo encapsulates the various stages a soul goes through after death but before its eventual rebirth. This transient period is portrayed as a pivotal juncture, where the soul — standing on the threshold of reincarnation — encounters various realms, and undergoes transformative experiences.

As Mon’s soul prepares to embark on a mesmerising journey through the uncharted realms of this limbo, Amid imparts an instruction: “Travel without getting attached to anything, and wander in this intermediate existence.” Little did we know that his words also serve as a guidance to us, inviting us — the spectators — to join Mon on this transcendent journey.

Amid regularly crosses the river to visit Mon, an old lady confined to her bed in the twilight of her days. On every visit, he reads to her the Tibetan Buddhist scriptures.

As a viewer, one might initially assume that the soul’s journey would be omitted from the film. But suddenly, the screen plunges into darkness, and in that moment of cinematic intrigue, a brief text emerges, informing us that Mon has entered the Bardo, and that “we will go with her.” It’s a journey experienced in darkness, prompting us to close our eyes so that we can fully immerse ourselves in the experience.

Though meditative in nature, this journey deviates from conventional meditation practices that seek inner peace. Upon closing my eyes, I found myself submerged in a symphony of unstable and evocative lights and sounds. This sensorial odyssey is rich in audioscapes, transcending mere contemplation. Compelled to perceive shifting landscapes solely through auditory senses, I’m accompanied by persistent flashes of light before me, hitting the surface of my closed eyelids.

This immersive encounter brings to mind the teachings of Bardo Thodol, known in the West as the Tibetan Book of the Dead, where such sensations are considered integral to this journey of liberation. At times, I even found myself under the illusion that this expedition traverses from the earthly realm to the otherworldly, and then back.

In the span of this 10 to 15-minute sequence, I — as mere viewer — died in the cinema, only to be reborn. This proved to be the most immersive and deeply moving cinematic experience I’ve encountered in years.

As the audio ceased, I opened my eyes and found myself on the shores of Zanzibar, off the coast of East Africa. There, I’m introduced to a family and their young girl named Juwairiya, who’s seen caring for the family’s new pet goat, Neema.

Mon’s soul takes on a new life, reincarnated as the baby goat Neema, following behind Juwairiya and her friend.

I must admit that, at first, I entertained the belief that Mon had reincarnated into Juwairiya. But as the narrative unfolds, it becomes evident that Neema is no ordinary goat; it serves as the new vessel for Mon’s soul.

While the film revolves around the abstract and philosophical concept of samsara, its central narrative unfolds within the earthly realm. It wasn’t until later when I reflected on the two sections integral to Mon’s reincarnation that I realised her life in Laos was like a dream.

The scenes in Laos departed from a Buddhist temple where occupants strive for enlightenment. At certain point, a group of these young monks went on an excursion by boat, where Be Ann got lost in the forest and dreamed of elephants. A sublime imagery of monks donned in their saffron-dyed kasaya, standing against the backdrop of majestic waterfalls, evokes an otherworldly ambiance, as if foreshadowing the impending journey of Mon’s soul.

During an outing, the monks, donned in their saffron-dyed kasaya, forms a sublime and otherworldly imagery against the backdrop of majestic waterfalls.

This surreal quality sharply contrasts with the earthly depictions of life in Zanzibar, where women in the community diligently farm seaweed along the coast. The juxtaposition of the scenes in Laos and Zanzibar, or otherworldly versus earthly, celebrates the expansive tapestry and profound depths of human lives and experiences. It also highlights the mysticism woven into the cycles of life, suggesting there’s much more for us to discover and learn in the perpetual dance of existence.

Whether you believe in the idea of life after death, Samsara serves as a poignant reminder that the life we’re currently living will eventually fade away like a forgotten dream — regardless of whether we’re reborn into new lives.

“The world opens to those who open up to it,” Amid shared early in the film. Perhaps, it’s only when belief takes root that one can perceive this world, one’s life, and the possibility that “our soul never dies” in a new and illuminating light.

Lois Patiño’s “Samsara” was screened as part of the 2023 World Ethnic Film in Taipei city, which ran from September 15 to 24, 2023.