Tibetan tales of fantasy and footballâ

In the cool rinsed foothills of the Himalayas - at the fingertips of the sprawling, swarming inferno that is India Ă there rests a community of Tibetan refugees. This is Dharamsala. Temporary residence of the Dalai Lama. Home to the Tibetan government in exile. Roosting place of a thousand flocking foreigners - and spotlight of a media surge (that hitâand drained away, five years ago)âwhen the Richard Geres and Scorceses of this world made the rest of it aware: Free Tibet. Enter The Cup. Evocative, sharp, witty life-story of a monastery in Dharamsalaâduring the World Cup. First film by Tibetan Filmmaker Khyentse Norbu, himself a monk,

The Cup uses real monks as its actors and is shot entirely in an actual monastery. It shreds our Kundun expectations - incense and unwrinkled tranquilly is replaced by Coca-Cola and fisticuffs. The Portobello film café screening was hosted by Tibetan Film and Video archives - their premise: to provide a visual space in which Tibet can articulate itself. But lest ideology eclipse the artâ One roguish monk-ette (sporting a Reynaldo shirt beneath his orange robes, his candle-lit shrine a glossy patchwork of penalty kicks) persuades impressionable monk-friends to join his mission: sneaking, after lights-out, into town to watch the World-Cup.  On their return, they get whisked away by the scruffs of their necks, and put on kitchen duty punishment by head-monk; Geko âwho has himself, a surprisingly intimate knowledge of football mattersâ The Cup is a domestic, humane, film. The idiosyncrasies of monastic life, laid out for laughs. But the brutality of Chinese occupation penetrates each frame. Refugees arrive at the monastery, telling of struggles at the boarder, of violence and suppression in Tibet.

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