To hear the sound of the ocean in the Himalayas... This unlikely wish takes a film director and her three curious girls to Gyuto, a Tibetan Buddhist monastery echoing day and night the sacred tantric chants of meditation, which the monks say, “
sound like the waves of the ocean”.
Wandering freely about wherever their curiosity leads them, they discover the daily life of 400 monks living there. Over time, a dialogue develops and a growing complicity emerges.
This intimate immersion unfolds like a visual and sonic wave and the reality of Buddhism is revealed in a way that is unprecedented: in the spontaneous and sensitive understanding of a child's point of view.
Un documentaire de Filipa Cardoso.
In the 14th century, while meditating at length on the good and bad, our great master Lama Tsongkhapa achieved a high level of knowledge. Different protectors of dharma, like Mahakala, the deity proctector of Gyuto, accompanied him during his long meditation. The sounds of the protectors of dharma sometimes ressemble a mountain that cracks, sometimes the sound of the waves in the ocean. Tsongkhapa heard these sounds and they became the sacred foundation of his teachings.
Here in Gyuto, our tradition sounds like the waves of the ocean.
– Tenzin Gungnay, 125ème abbé du monastère de Gyuto, lors d’une interview pour le film.
Philippe Cornu, a renowned specialist of Tibetan Buddhism, tells us :
In today's world, learning techniques that imply slow maturation and transformation, are unheard of. Convinced that we have no time, we live henceforth by proxy, identifying ourselves to dreamed-up lives and in a rush to fulfill our desires at once. With this film, I wanted to slow time down for the duration of an experience in total immersion in Gyuto, where the monks seem to 'hasten' slowly. Wanting to observe, at the source, their very particular way of life, between tradition and modernity, the monastery is also a big university for the development of rigorous intellect, and they live there, their spirituality in phase with the world today.
I want to reach the viewers in their condition as human beings.
I allow myself to wander about with nothing holding me back, as much by distraction as by curiosity, swept by this red tide of men. People, objects that I encounter, irrupt before me on this journey; a journey, which is that of a wanderer. Wandering isn't just any form of laziness or aimlessness; it is both carefreeness and attention, abandonment and alertness. My approach follows this kind of method and calls for the same vision.
The halts in my steps open up to momentary allurements to a story or a tale. Nothing more than the capture of a fleeting moment, the wish to hold on to what's already vanishing, to demonstrate my assent to all that occurs, to all that simply is.
As a woman director walking around in this masculine world, never did I feel at any moment unease or unrest, as if the issue of gender didn't have its place here, because we were present there solely as beings. And I want to reach the viewers in their condition as human beings.
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