Most Wanted Movie
I've been searching this movie for ages but didn't find I requested from Elakiri last year no one had this hope somebody might have this movie by now (must watched for Buddhist people)
Synopsis
A young Buddhist monk, arrives at a temple in order to restore its paintings. These paintings depict the Thelapaththa Jathakaya, a moral story where Lord Buddha said that a man with a big target in life must not be swayed by passion (keles), the five senses and especially beautiful women.
One day, Ananda picks up a hair pin belonging to a young woman. While attempting to return this object to its owner, his repressed, inner feelings are awoken as Ananda develops sensual feelings towards this woman. Hence, the young monks inner spiritual world is plunged into turmoil.Then one night, the paintings are destroyed. While restoring them for the second time Ananda begins to realize that he is trapped in a web of his worldly desires and attachments like that depicted in the paintings. At the end of the film, Ananda accepts that it is his own desire which has led to the defilement of his soul. In order to rid himself of his attachments, Ananda takes his astral being away from physical exis tence.
Content
This is my debut. It is Sankara.
The meaning of Sankara is what we dispose of, dirt, or in ordinary sense passion. Sankara has been created to talk about the Klesha (as said above, passion ) and the man who wanders with sufferings caused by passions or Klesha.
The basis to any discussion of life, according to the philosophy that guides an artiste, I believe has two dimensions.
1. Materialistic life
2. Spiritual life
Though we move our lives on the basis of the materialistic world, there is no eternal truth in it. I feel that there is no difference between the materialistic life and the dreams we see.
If there is one thing that is not materialistic in life, that is the mind. We do not know whether the mind is inside or outside body. But the eternal wanderers (i.e., mans) existence lies within the mind.
If one speaks about life, is there a purpose of discussing external trivialities that could be perceived by the eyes? The answer is no, because, there is a deeper sense to life than what we see through our eyes. This is why I decided to analyze the mind through Sankara. Mind is something that exists between existence and non-existence. Mind lies within and depends upon passions, the Klesha. They are born out of the desires of five senses, i.e., (that is) eyes, ears, nose, tongue and the skin through which vision, hearing, smell, taste which these five sense are operated can be called ' five causal elements' or pancha upaadaana skandha.
Sankara has three main characters.
Reverend Ananda His mind/Emotions The paintings he renovates.
Through the film, what the reverend Ananda engages in is, renovating or repainting the Buddhist paintings. Through this action, the young reverends hidden and suppressed emotions are brought to life slowly and gradually.
At the same time, the Buddhist Birth Story (Jaathaka Katha) he first repaints is about the consequences of attachment caused by five casual elements, that is pancha upaadaana skandha (Telepaththa Jaathakaya). Ironically, the reverend himself gets entangled in the same web. Clean shaven, robed, one dedicates one's entire life to spiritual quest. How a young reverend who has propensities for life's desires could detach from them? This is the quest of my film.
The best way to measure the mind or the spiritual element of life is to measure the manifestations of klesha.
The Film Expression though I did not try to give any message through Sankara, I showed how man suffers in life and attempted to make the spectator feel what man experiences when he transcends the earthly life and reaches the spiritual life. Structural Difference I decided not to limit the plot, characters and the environment of Sankara, but to create it within an ambiance that is universal. The endless forest that spreads below the temple is deep green and flat. This symbolizes the 'Samsaara' which is endless to. In the middle of that premises lies the withering reddish temple which is the spiritual dream of the ordinary man.
The paintings that are preserved in Sankara are hundreds of years old. Many a generation might have worshiped them, painted them again and again. In the same way, men over generations might have been drawn and attracted to desires and passions. Just as the young monk feels, I too feel that there is life existing in these paintings and this made me create those paintings alive in Sankara The rest of the characters, such as the young woman, the chief monk, the environment / Atmosphere, flora and fauna are only symbolic of and supportive to the young monk's feelings and emotions. Sankara is a film which is (almost) deprived of a narrative element. It has moods only, for what runs through the entire film are the motions of the young monk.
