Windhorse deals with the evocative and still very salient issue of the Chinese occupation of Tibet. Opening in the year 1979, Windhorse takes the point of view of a Tibetan family affected by this perilous circumstance. A number of children witness a relative being killed by Chinese soldiers, children whom we rejoin later as adults in the present day (1998, the year of filming). The film focuses on three main characters. Dorjee has become embittered by his earlier experiences and spends his days attempting to drink away his problems. His sister, Dolkar, is a small time singer who is dating a record executive, who attempts to give her a break by hiring her to sing propaganda on a local TV station. Pema, who has become a nun, is brutally mistreated by the Chinese authorities, which places Dolkar in a personal crisis of career, family and culture.
Windhorse from the very start was destined to be a provocative and timely film. The Tibetan actor playing Pema is uncredited at the end of the film, so as to protect her. The parts of the film shot in Tibet had to be shot in secrecy. In addition, the Chinese government protested against the film's inclusion in the Hawaii International Film Festival, resulting in its withdrawal. Windhorse is hence, at the present time, still a very contemporary film, that by its very nature, will no doubt draw a number of potentially emotive reactions from its audience here at ANU Film Group.

It is 1998, and World Cup fever has reached the Indian Himalayas. Inspired by true events, The Cup is a delightful comedy about the lighter side of life in a Tibetan Buddhist monastery. Fourteen-year-old Orgyen (Jamyang Lodro) has a decidedly unmonastic obsession with football. As the cup final fast approaches, the rest of the monastery is swept along with football fever but there is one problem: with no TV, how will the monks be able to watch the match?
This is probably the only film in our program written by a Tibetan monk, which perhaps makes it all the more surprising that it's very, very good. It won the Golden Camera at Cannes for the best film by a new director. The Cup is also the first film ever in the Tibetan language. The cast is largely made up of monks (including one who was specifically ordained for the filming of the movie, and has remained one since). One final bit of trivia - the film was cast using the ancient Tibetan system of divination called 'mo'. Given its success here, perhaps more studios should consider using it.
This is an excellent film, well worth watching even if you're not normally into Tibet.