Published by: World Tibet Network News Monday, November 17, 1997

Himal South Asia Magazine (Kathmandu, Nepal):

Out of the 51 documentary films screened at the first-ever festival of South Asian documentaries, organised in Kathmandu in October by Himal South Asia Magazine (formerly Himal, a Himalayan Magazine), the top award went to The Spirit Doesn't Come Anymore, by Tsering Rhitar.

The 38-minute-long film is about Pao Wangchuk, a 78-year-old Tibetan ngakpa/lha bab, or shaman, the 13th in the line, who lives in the Hyanja Tibetan Camp in Pokhara, and his relationship with his family. Pao Wangchuk is an irascible character, who beats his wife and bullies his eldest son and heir-to-succeed. He is especially hard on his son, 30, who isn't able nor too interested in taking up his father's vocation, which adds to his father's ire and despair, and further alienates the son. The chief appeal of the film is its intimate portrayal of the characters, and far from being turned off by Pao Wanchuk's curmedgeonly, sometimes wicked, ways, he becomes a memorable character. Rhitar's film also works because it has a storyline, unlike most documentaries. The earthy, unjudging Tibetan humour is in strong form in this film.

In giving the top honours to The Spirit Doesn't Come Anymore, directed by Rhitar, produced by Sherab Lhawang and Tsering Dorje, the three-man jury, from Sri Lanka, India and Pakistan, said the film-maker did not make a single false turn even when the chances to do so were presented. A graduate of Jamia Milia Islamia University, New Delhi, Rhitar has made two documentaries (Tears of Torture, about a nun who escapes from Tibet) and two docudramas (including The Letter). It is remarkable that Rhitar's third effort in documentary film-making should have won the award - a cash prize of US$2500 - out of a field that included several renowned filmmakers such as Anand Patwardhan and Meera Dewan (from India), among others.

The Spirit Doesn't Come Anymore has been accepted for screening at film festvals in the West, and its maker Rhitar is turning his sights to making a Tibetan feature film.

The second prize was shared by three entries - Father, Son and Holy War, by veteran Anand Patwardhan, Meals Ready by Surajit Sarkar and Vani Subramaniam, and Nusrat Has Left the Building - But When? by Pakistani Farjad Nabi, the latter two entries being first-time efforts. The jury cited a special mention of Muktir Gaan, an epic film about Bangladesh's freedom struggle, by Tareque/Catherine Masud.

Out of a total of 135 films submitted to Film South Asia `97, 55 were selected for screening, and 51 for the competition. Most of the filmmakers were in Kathmandu to present their entries, the majority of whom were Indian participants. Besides the entry by Tsering Rhitar, a first effort by another Tibetan Kesang Tseten - on the Lepchas of Sikkim - was also screened at the filmfest.

Himal South Asia Magazine plans the next South Asia documentary film festival in 1999.