samsara movie review in tamil

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சமரா - சினிமா விமர்சனம்

இமயமலையில் இரண்டு பேர் கொல்லப்படுகிறார்கள். அந்த வழக்கை விசாரிக்க வருகிறார் காவல்துறை அதிகாரி ரகுமான். பிறகு கதை சரித்திர காலத்துக்கு நகர்கிறது.

சர்வாதிகாரி ஹிட்லர் எதிரிகளை தாக்குவதற்கு கொடிய வைரஸை உருவாக்குகிறார். அதன் வீரியம் பயங்கரமாக இருப்பதால் போரில் பயன்படுத்துவதை தவிர்த்து அழித்து விடுகிறார்.

அந்த கொடிய கிருமியை ஒரு பயங்கரவாத கும்பல் மீண்டும் உற்பத்தி செய்து இந்தியா மீது பயோ வார் எனப்படும் உயிரியில் போர் நடத்த முயற்சிக்கிறது. அதை ரகுமான் தடுத்தாரா? பயங்கரவாத செயலின் பின்னணியில் இருப்பவர்கள் யார்? என்பது மீதி கதை.

காவல் துறை அதிகாரி வேடத்துக்கு ரகுமான் பொருத்தமாக இருப்பதோடு தன்னுடைய அனுபவ நடிப்பால் கேரக்டருக்கு பெருமை சேர்த்துள்ளார். பரத் இரண்டாம் பாதியில் வந்தாலும் முதல் பாகத்துக்கும் சேர்த்து தன் பங்களிப்பை வழங்கியிருப்பது சிறப்பு.

இவ்விருவருக்கும் அடுத்து ரசிகர்களை வியக்க வைக்குமளவுக்கு வித்தியாசமான கேரக்டரில் நடித்திருப்பவர் பினோஜ் வில்லியா. உடல் முழுவதும் வெந்த நிலையில் பிரத்யேக மேக்கப்புடன் நடித்திருக்கும் பினோஜ் படம் முழுவதும் கவனிக்க வைக்கிறார். மனைவி பிரிந்த ஏக்கம், மகள் மீது பாசம் என நவரசத்தை கொட்டி நடித்திருப்பது அருமை.

தினேஷ் லம்பா, சஞ்சனா திபு, ராகுல் மாதவ், டேரிஸ் ஜினோய், கோவிந்த் கிருஷ்ணா, டினிஜ், விவியா சாந்த், வீர் ஆர்யன், சோனாலி சுதன், டாம் ஸ்காட், பிஷல் பிரசன்னா என பிற வேடங்களில் வருபவர்களும் மிகையில்லாத நடிப்பை வழங்கியிருப்பது சிறப்பு.

இமயமலை அழகை அற்புதமாக படமாக்கியுள்ளார் ஒளிப்பதிவாளர் சினு சித்தார்த். ஓநாய் கூட்டத்தை துரத்திப்போகும் காட்சியாகட்டும், பனிபடர்ந்த மலையாகட்டும் அனைத்திலும் ஒளிப்பதிவாளரின் திறமை பளிச்.

தீபக் வாரியரின் இசையில் பாடல்களும், கோபி சுந்தரின் பின்னணி இசையும் படத்துக்கு பலத்தைச் சேர்க்கிறது.

ஆக்ஷன் கதையில் பாசம், சென்டிமெண்ட் என கமர்ஷியல் அம்சங்களை சேர்த்து ரசிக்கும்படியாகவும், நேர்த்தியாகவும் சொல்லியுள்ளார் இயக்குனர் சார்லஸ் ஜோசப்.

முதல் பாதியில் துண்டு துண்டாக வரும் காட்சிகள் பலகீனம்.

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சமரா தமிழ் திரைப்பட விமர்சனம்

ஹிட்லர் வாழ்ந்த காலத்தில் அவர் ஒரு வைரஸ் கண்டுபிடிக்கிறார். அந்த வைரஸ் மக்களை எப்படி பாதித்தது,பிறகு ஏன் அவர் அந்த வைரஸை தடை செய்தார் என்ற விஷயங்கள் ஒருபுறம் இருக்க மறுபுறம் தற்போதைய காலத்தில் உள்ள ஒரு சைன்டிஸ்ட் அந்த வைரஸை கண்டுபிடித்து மீண்டும் ஒரு பயோ வார் நடத்த அதர்க்கான வேலையை செய்துகொண்டிருக்கிறார்.

Read: Kundan Satti Tamil Movie Review

இந்த வைரசால் ஒரு பெண் பாதிக்கபடுகிறார். அவரின் தந்தை ஒரு சைன்டிஸ்ட் என்பதனால் அவருக்கு இந்த வைரஸை பற்றி சில விஷயங்கள் தெரிகிறது. மக்களுக்கு பாதிப்பு ஏற்படாமல் தன் மகளை தனிமை படுத்தி பார்த்துக்கொள்கிறார். இந்த பயோ வாருக்கு பின்னாடி யார் இருக்கிறார்கள் என்பதும், அதனை தடுத்து நிறுத்தினார்களா? இல்லையா? என்பதே படத்தின் மீதி கதை…

இந்த கதையினை இயக்குனர் சார்லஸ் ஜோசப் இயக்கியுள்ளார்.

படத்தில் சிறப்பானவை

➡ரஹ்மான் & பரத் நடிப்பு ➡அனைவரின் நடிப்பு ➡ஒளிப்பதிவு ➡பின்னணி இசை

➡சுற்றிவளைக்கும் திரைக்கதை

Rating: ( 2.5/5 )

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'Samsara' Review: Visually Delicious, Structurally Intriguing, And Textually Profound

In Buddhist philosophy , the term ‘Samsara’ refers to the cycle of birth, death, and rebirth, within which all living beings are bound by their intentional actions. Taking inspiration from this belief, Lois Patiño’s latest film, Samsara  travels across life, death, the after-life, and the liminal state in between. The line between real and surreal blurs on the celluloid through the saturated colours (the tangerine robes, the milk-white baby goat, magenta khimar, etc.). Further, Patiño’s daring decision to make a film with a visually blank segment turns the theatre into a sanctuary. 

As the title suggests, Samsara  (2023) is a visual exploration into the nature of existence, taking the audience on a cyclical spiritual journey of a single soul whilst allowing a glimpse of the other characters’ lives. The film is divided into three parts: first, we follow the soul preparing to die in the body of an elderly ailing woman, Mon, in Laos. For Mon’s impending transmigration, a young man, Amid, travels every day to Mon’s house to read a passage from the Tibetan Book of the Dead—a book that is supposed to be read aloud by another person to the dying to assist them through death and rebirth. Meanwhile, we are also acquainted with novice monks’ ways of life at a local temple. 

Following Mon’s death, we experience the spirit’s transcendence into the ‘intermediate existence’ in the cinema. In this 10-15 minute interval, we are told to close our eyes and guided by non-diegetic sounds and flashing lights. At last, we are (re)introduced to the lead as a kid goat, Neema, in Zanzibar. Previously, Mon has expressed her wish to be reborn as an animal to Amid by saying that the only reason we would not want that relates to how badly humans treat animals. Reincarnated as a pet goat to a doting schoolgirl, Juwairiya, the spirit spends the days following Juwairiya and playing with her and her friends. 

Midway through the film, director Lois Patiño ambitiously attempts to stretch the parameters of cinematic experience by asking the viewers to suspend their observation and  retreat into the mind (or soul).  The image-less interlude, in which the audience is led by auditory rather than visual sense, resembles the verses Amid reads to Mon about bardo (a liminal state between death and rebirth), where the soul would hear and feel erratic motions. In this way, we do not follow Mon’s spirit through the limbo, but it feels as though we are in the bardo. More specifically, we are given the chance to imagine our own spiritual vestibules instead of occupying Patiño’s version. While we are all in one place and listening to the same sound, each one of us is in a different mental space. By being invited to such a metaphysical realm, one could not help but reflect inwardly. This ‘intimate and meditative experience’ is what Patiño, as a film director, intended to create in his work, as noted in his director’s note . As such, Samsara  (2023) becomes more than a film to watch; rather, it offers a meditative activity for the audience. 

Moreover, Samsara  (2023) manages to have a perfectly balanced grounding yet transcending effect. Although the film’s main concern is to render an otherworldly experience, it anchors the viewers to the worldly existence. Scenes of teenage monks frolicking in Kuang Si waterfall, school children running around, and women working on a seaweed farm, among other scenes, delight the viewers with colourful slices of life.   Patiño categorises the film as a fiction documentary on his website: indeed, there are elements of fiction or even fantasy. Regardless, the mortal realms the film depicts are a vivid documentation of human existence. In Laos, young monk Ba En and Amid share their aspirations: the former wants to study computer science at a university, while the latter plans to become a rapper. In Zanzibar, female seaweed farmers express their frustration over their underappreciated work. Further, the earthly topics represented through the student monks’ social studies class an d Zanzabri  seaweed farmers’ talk about water contamination counterbalance the spiritual undertones running across the film.

Overall,  Samsara  (2023) is a visually delicious, structurally intriguing, and textually profound film that offers a chance to live, die, and be reborn in the theatre. The ideal way to experience the fiction documentary would be to go in blindly, as I did. When the screen told me to close my eyes in the middle of the movie, I was not expecting myself to go into meditation. As such, the bardo interlude left a unique impression on me. Although this advice defies the point of my review, I suggest you go into the cinema without any expectations, even if you are familiar with the content.

Samsara is in UK cinemas and on Curzon Home Cinema from 26th January.

Edited by Oisín McGilloway, Co-Film & TV Editor

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In the 1970s, "Samsara" would have been known as a head trip. The critic Matt Zoller Seitz calls it "a trance movie." For Fricke and his producer and collaborator Mark Magidson , it is a continuation of the meditative imagery they used in " Baraka " (1992), which intensely regarded the strangeness and wonder of our planet. Both films draw a sharp contract between the awe of nature and the sometimes ruthless imposition of man's will. I learn from Wikipedia that "samsara," literally meaning "continuous flow," is "the repeating cycle of birth, life, death and rebirth" within such Indian religions as Hinduism, Buddhism and Sikhism. "Baraka" can refer to God's blessing.

I met Fricke and Magidson when a restored version of "Baraka" was shown at Ebertfest, and had the impression that traveling the world and recording these images was sort of their calling. Some of these places, structures, peoples and practices will not endure forever, and if this planet someday becomes barren and lifeless, these films could show visitors what was here.

"Samsara" may also suggest some of the ways in which it was lost. Although the documentary presents speeded-up images of city traffic and unseemly mechanical haste, for me the most unforgettable sequence is not one of breathtaking vistas or natural beauty, but of chickens in a food-processing plant.

They are "processed" with such efficiency. Having spent their entire lives being fed while enclosed in cages too small for them to turn around, they now suddenly find themselves on a slippery stainless steel slope that feeds them relentlessly into a mechanical process that in a few seconds beheads them, strips them of feathers and skin, and slices them into parts. Chickens never seem very smart, but we can see the alarm in their behavior because this process is obvious to them.

Now why would I dwell on such a sequence, which is probably largely responsible for the film's PG-13 rating? Because I experienced it as a shriek of terror. On this ancient and miraculous world, where such beautiful natural and living things have evolved, something has gone wrong when life itself is used as a manufacturing process. I read that in 50 years, we must adopt a largely vegetarian diet or die, and forgive me if I take that as good news. Something is out of balance, and "Samsara" regards the sides of the equation.

I fear I haven't communicated what an uplifting experience the film is. In its grand sweep, the chickens play a tiny role. If you see it as a trance movie, a meditation, a head trip or whatever, it may cause you to become more thankful for what we have here. It is a rather noble film.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Samsara (2012)

Rated PG-13 for some disturbingand sexual images

102 minutes

Directed by

• Mark Magidson

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Samsara review: A truly extraordinary film (even if it drives you mad)

Not many films ask the audience to close their eyes for 20 minutes of its run time.

Samsara: the section viewed through your eyelids encourages blank meditation, chemical epiphany and, one has to assume, religious ecstasy

Film critics are always banging on about films you really “have to see on the big screen”. The profession has, however, never before demanded such attention for a film that will be largely unviewable for a good portion of its odd middle. That’s not quite right. Obviously one can watch the abstract transition at the heart of Lois Patiño’s spiritual odyssey . Nobody will be prowling the aisles demanding you cover your face. But a message on the screen does, indeed, urge you to close your eyes until the soundtrack goes silent.

For some 20 minutes, throbs and flickers make it through as blaring drones give way to smatterings of conversations in various languages. It is unfairly facetious – but irresistible – to note that, in another era, Samsara would have played to the sweet scents of hand-rolled smokables. And nobody would have asked for their money back.

The Spanish film-maker does, however, have a more serious aim in mind. The film charts the spiritual journey of a Mon, (initially) an elderly woman in a remote quarter of Laos. Every day a young fellow visits her and reads from the Tibetan Book of the Dead. At other points he and his pal discuss mystical matters. One discerns that a tree is looking at him. “It has always been looking at you. You just didn’t notice,” the other notes. Saffron robes echo yellowy blossoms as the gorgeous cinematography stretches across the screen.

After she dies, that legend comes on screen. “Mon’s spirit is going to travel through the Bardo – the intermediate reality,” it reads. “We will go along with her. To make this trip we must close her eyes.” On the other side, Mon is, indeed, reborn as a baby goat in Zanzibar.

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That section, pitched somewhere between Au Hasard Balthazar and an Iranian family film, is utterly charming, but it is the interregnum that will earn Samsara a place in cinematic history. Those who disobey instructions and peek will see a mass of strobing blocks that, in different circumstances, could be employed by CIA torturers. Viewed through your eyelids they encourage blank meditation, chemical epiphany and, one has to assume, religious ecstasy.

Samsara would be easy to dismiss if it were not carried off with such dexterous panache. A truly extraordinary piece of work (even if it drives you mad).

Donald Clarke

Donald Clarke, a contributor to The Irish Times, is Chief Film Correspondent and a regular columnist

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‘I will never forget this’: Samsara, the film you watch with your eyes shut

Drawing from the Tibetan Book of the Dead, Lois Patiño’s film features a 15-minute light-and-sound interlude in which viewers can join the star on his journey to the afterlife

L ois Patiño had been thinking about phantoms when he came up with the idea for a film that people could watch with their eyes closed. The director’s first two features, 2013’s Coast of Death and 2020’s Red Moon Tide, showed the coastal landscape of his native Galicia in sweeping, spectral glory. Myths, ghosts and omens of death swirl as locals recall stories of shipwrecks, fishermen lost at sea, and rumours of a legendary sea monster.

“I’ve been digging into contemplative cinema,” says Patiño, 40, of his earlier work, “and wanted to go further into this idea of an introspective, meditative experience.” He began thinking about “the idea of the invisible in cinema. Suddenly, this very literal idea of making a film to watch with your eyes closed appeared.”

Samsara – its title is a reference to Buddhist notions of the cycle of life, death and rebirth – opens in Luang Prabang, in northern Laos, where a teenager regularly visits an ailing elderly woman named Mon. He reads her passages from the Bardo Thodol, the Tibetan Book of the Dead, a text that is meant to be read aloud, guiding the dead towards rebirth. He also meets up with a friend who is studying in one of the city’s many Buddhist monasteries, and they walk across forests and waterfalls, talking about their future aspirations (the monk hopes to study computers; the teenager wants to become a rapper).

As Mon says her farewells and dies – she hopes to be reincarnated as an animal – there is a 15-minute interlude that asks viewers to close their eyes and journey with her through the afterlife. We then emerge on the other side to join a family living on the coast of Zanzibar, the bright blue ocean in view. A young girl is delighted. A baby goat has just been born.

Samsara premiered in the UK at the London film festival in October, screening at the BFI Imax, a setting that showed how well the film – immersive, detailed, sensorial – fitted the big screen. Landscapes shimmer in full grandeur; sounds blare out of speakers with deliberately varied degrees of intensity. Speaking the day after the premiere, Patiño recalls that the closed-eye film idea lay dormant for a year or two, until he came across the Bardo Thodol, which sparked an interest in “how different cultures imagine the afterlife, how they relate to death”. Pairing a closed-eye sequence with a story about the afterlife felt like “the perfect match”.

Then he had to decide on the locations. “I needed a Buddhist culture,” he says, given the significance of the Bardo Thodol. He was intrigued by Laos, as he says its history is not too well-known in Spain (Thailand, he suggests, was also a no-go given the famously meditative and spiritual work of Thai film-maker Apichatpong Weerasethakul.) Patiño wanted the second part of the film to show a very different world, and inspiration struck after he was invited to Tanzania to give a film workshop. He spent 12 days shooting in Luang Prabang, eight in Zanzibar. He arrived with a crew of three from Spain. The rest of the production, camera crew and actors were locals – a decision he attributes to the film’s low budget, and his desire to tread lightly. “We were very aware of our position of power being from Europe,” he says, and mentions the collaborative nature of the process, which included checking scripts with the crew and actors. “We were lucky they trusted us and our intentions. I think it is important we have dialogue and curiosity” across cultures, he says, “otherwise if we just focus on our own cultural identity … nationalism grows”.

Mixing documentary and fiction, the film blends scripted scenes with sequences where people “speak freely”, including a lengthy conversation in which women at a Zanzibar seaweed farm air frustrations about their work – water from the nearby hotel contaminates the crop; the men don’t do this work because it is thankless. Discussions of death and different mourning rites crop up throughout the film, as does the idea of people being on the brink of major shifts. The young monk in Laos is just about to turn 18, Patiño tells me, at which point he’ll have to decide whether he wants to stay on in the monastery. These stories speak to the film’s broader desire to prompt people to consider their own choices, and whether there are different ways to live. It is Patiño’s “hope”, as a director, “to open [up] what we think of how life can be lived.”

Though it is “viewed” with closed eyes, the screen during Samsara’s afterlife interlude is constantly changing, full of bright flashing multicoloured lights, and sounds weaving in and out. Patiño was inspired by American light and movement artist James Turrell: “I saw Breathing Light in LA, and you felt like you were inhaling and exhaling light.” He also mentions avant garde British-Canadian artist Brion Gysin’s 1959 creation dreamachine , the first work of art to be experienced with closed eyes. The machine was made of a rotating slotted cylinder fitted around a lightbulb. As the cylinder spun, light from the bulb would flicker across the viewer’s closed lids.

Meanwhile, the audio follows a two-part structure: the first section is the film’s sound artist Xabier Erkizia’s interpretation of descriptions of the afterlife in the Bardo Thodol, while the second part plays recordings that Erkizia had taken across the world throughout his career – a girl and her grandfather speaking in Switzerland, a woman cooking in Timor – to represent places where Mon’s soul is tempted to reincarnate. The section is “full of little secrets”, says Patiño.

Samsara is the most narrative-driven film of Patiño’s so far. Bridging the worlds of video art and art cinema, his works often feature landscapes at a slow pace, and have sometimes done away with narrative entirely. A Guardian review of Red Moon Tide observed “the trance-like pacing and mystical meditation might frustrate viewers looking for an easy watch”. Is there something about making meditative films that appeals to him in today’s fast-moving world? The draw, he says, is more about “finding my own way of looking into physical reality” – bringing to mind the way a painter might draw out the fine details in a landscape.

But he understands that “asking people to close their eyes for 15 minutes, when they can see 2,000 shots in that time” is quite an ask, almost a “kind of resistance”. Then again, “there’s always someone in the audience who comes to me and says, ‘I will never forget this experience.’” Why does he think that is? “Suddenly they are asked to close their eyes in a film – and they discover something amazing.”

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Awesome storyline.

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