Samsara : Love, Lust and Liberation

Written by Mona Hui

‘Perhaps when we do [meet again in Samsara], you will be able to tell me what is more important: Satisfying one thousand desires, or conquering just one.’ 

  - Yours, Apo. In Samsara (2001), Pan Nalin 

 saṃsāra, a Pali and Sanskrit term literally means ‘flowing around’, connotes the eternal continuum of recurring birth, worldly existence and eventual demise without a discernible origin, in the Buddhist cosmological context. This concept underscores the inexorable continuity of life, death and rebirth, suggesting a cyclical, endless journey of one-self through various existences within the six realms of existence, each influenced by the karma (deeds) accumulated in previous lives. The philosophical and religious connotations of saṃsāra are profound, embodying the existential quest for understanding the nature of ātman (self/non-self), dukkha (suffering), and ultimately, liberation from this cycle, referred to as moksha or nirvana in Hindu and Buddhist traditions, respectively.  

The 2001 cinematic work Samsara, aptly named after the same term, mirrors the notion of saṃsāra through exploring the narrative of Tashi - a Tibetan monk. The film intricately portrays Tashi’s mundane and spiritual journey, spotlighting on the nuanced tension and the undercurrent of interplay between worldly desires and spiritual aspirations. Through Tashi’s encounters, Samsara prompts viewers to contemplate the paradoxical and multifaceted relationship between love, lust, and the pursuit of liberation, from these desires.   

Scene from the opening sequence. Samsara (2001). 

The opening sequence of Samsara brings the audience to the ethereal landscape of Ladakh in India, where Tashi is invited back to the monastery after his long, secluded mediation retreat. Ethereal background music escorts throughout this ritual, embodying the holiness and glory of a Venerable's return. This very portrayal emphasised an austere, solemn monastic impression of Tashi sets a stark contrast to the subsequent events in his life and poignantly, the sensual scenes of making love as he navigates the mundane world.  

The film unfolds at a rather slow pace, with sparse dialogue and ample pregnant pauses. While some may find the approach disconcerting, I personally find the reflective mood it engenders to be unexpectedly mesmerising. Through these pregnant pauses, Samsara reveals the underlying anguish and inner dilemmas within Tashi, resonating the universal human struggle of overcoming our own egos and earthly desires that many of us grapple with throughout our lives. 

Elderly monk, preaching to Tashi. Samsara (2001). 

Each individual forges their own path, and Tashi is depicted as a free soul who seeks his own truth. (Spoiler alert) Initially drawn away from the monastery, stimulated by an inner desire for love and lust, his mentor Khenpo Apo’s doctrine and the wisdom imparted by the silent, elderly monk on the reflections of repulsiveness (Patikulamanasikara in Pali term) seemed futile quelling his desire. Thus, he embarked on a worldly existence following an encounter with the captivating woman, Pema. Building a family with her and their son, Tashi transitions from a respected Lama to a common farmer and family man. Despite the contentment he finds in this domestic life, his desires eventually lead him astray, culminating in a sensual encounter with another lady, Sujata. The passing of his mentor Apo, however, prompts a return to his monastic roots. 

‘How do we know that His (the Buddha) Enlightenment was not a direct result of His worldly existence, too?’               — Tashi (Samsara, 2001) 

Tashi's decision to turn away from his wife and son in favour of a monastic life is undoubtedly controversial. Does the sincere pursuit of one’s inner calling have to be a selfish one? Situates oneself in dilemmas, the answer remains ambivalent.  

Samsara enables an honest and sensitive peek into a man’s monkhood and mundane life. The choices one makes invite a poignant reflection. This serves not only as a narrative of individual struggle and discovery but also as an introspective medium that invites the audience to engage with the subtle contradictions inherent in the human condition. The portrayal of Tashi’s life and choices offers a bittersweet commentary on the complex dynamics of desire, attachment, and the quest for transcendency. By artistically encapsulates the essence of its namesake, Samsara presenting a rich tapestry of themes that resonate with the core tenets of Buddhist philosophy. Through intertwining the personal and the universal, the film contributes to a nuanced discourse on the cyclic nature of existence and human’s fallible nature in the endeavour towards enlightenment. 

Tashi and Pema parting. Samsara (2001).

In the final sequence, a stone bearing Sanskrit inscriptions featured at the opening scenes reappears after Tashi's parting with Pema, bringing a cyclical sense of closure that ingeniously mirrors the term, saṃsāra. This moment ties back to Tashi’s quest as the inscription writes: ‘How can one prevent a drop of water from ever drying up?’ Reflective, he looks up at the sky, as if pondering the profound answer written on the stone’s reverse: ‘By throwing it into the sea.’ Whether Tashi truly grasps the weight of this insight remains uncertain, leaving the audience with much to ponder with. 

The inscribed stone from the opening sequence reappears at the end. Samsara (2001). 

One may take quite a while to slow down and appreciate the rhythm of the movie, as it serves as a meditative experience. To me, it is a heartfelt journey for engaging a deep contemplation on profound questions about humanity, desire, and saṃsāra.   

Source of film: Nalin, Pan. Samsara. Pandora Film production in co-production with Paradis Film and Fandango. 2001. 138 minutes. https://www.bilibili.tv/en/video/2049496589. (All images featured are shots from the film)