TLDR: Inside Out 2 brilliantly showcases Dhamma concepts like the sense of self, the five aggregates, and the Three Marks of Existence: impermanence, suffering, and non-self. Did you catch these themes in the movie?
Writer’s Notes: Huge thank you to Claire, Yean Khai, and various DAYWA friends who shared their post-movie reflections with me, which were collated to create this meaningful piece for our readers. 🙂
The animated film “Inside Out 2” offers rich insights that resonate deeply with core Buddhist teachings. As we follow Riley’s journey through adolescence, we witness a clear illustration of fundamental Dhamma principles, particularly the Three Marks of Existence: Anicca(impermanence), Dukkha (suffering), and Anatta (non-self).
The Fabrication of Self
Central to the film is the concept of a constructed self, mirroring the Buddhist understanding of identity as a mental fabrication.
Riley’s sense of self evolves through her experiences, beliefs, and memories, represented by the “islands” in her mind. This evolution parallels the Dhamma teaching of dependent origination (paṭiccasamuppāda), where our identity is seen as a product of interconnected conditions.
The movie highlights how our memories are coloured by associated emotions as seen by the various colours of the memory orbs, often distorting our perception of past events. Riley’s reflections show that her self-concept is built from these emotionally charged memories, echoing the Buddhist teaching that our sense of self lacks a permanent essence (anatta).
As Riley’s sense of self develops, it becomes more complex, mirroring the intricate nature of human existence. Her indecision between thoughts like “I’m a good person” and “I’m not good enough” reflects the instability of a self-concept rooted in fluctuating conditions.
This highlights the Dhamma teaching that a stable, positive sense of self is beneficial for navigating the conventional world but ultimately impermanent and subject to change.
The moment one clings to a permanent and unchanging identity, they ultimately suffer. Changes in mind states & the physical body result in different needs for adjustment. If one rejects the flow of change, they too will suffer.
The Role of Emotions
“Inside Out 2” beautifully illustrates the complex interplay of emotions within the mind. Each emotion – joy, sadness, fear, anger, and disgust – plays a crucial role in Riley’s life, shaping her responses and actions.
This aligns with the Buddhist understanding of emotions as part of the five aggregates (pañcakkhandhā) that constitute a person: form, feeling, perception, mental formations, and consciousness.
The film emphasises the importance of embracing all emotions rather than selectively choosing them to define oneself. This resonates with the Dhamma view that all experiences, whether pleasant or unpleasant, are valuable for spiritual growth and understanding the true nature of reality.
This reminds me of a story shared by Ajahn Brahm in his book Opening Up to Kindfulness, where he explains how we can make the most out of negative experiences in our lives:
“Whenever you tread in the dog poo, never wipe it off your feet but always take it back to your house and dig it under your mango tree. One year later, your mangoes will be sweeter than before. But when you taste that mango, you must remember that what you’re tasting is dog poo transformed.”
When you understand this simile, all of that poo from your life, all of the terrible things you’ve done or which have been done to you, they are just fertilisers or opportunities for growth. It makes mangoes, or your life, sweeter.
So don’t get negative but give it metta, and the next time anything terrible happens to you, you can say, ‘Whoopee! More fertiliser for my mango tree!’”
This story beautifully illustrates how negative experiences can be transformed into positive growth. So the next time we feel angry or sad, perhaps, we can try to reframe our attitude towards the situation and make it beneficial for our character building.
In “Inside Out 2,” another interesting point to note is how specific emotions are given nuanced roles.Anxiety, for instance, represents Riley’s fear of the unknown future, while fear relates to the uncomfortable anticipation and uncertainty of current and past events.
These emotions serve as protective mechanisms, illustrating how our mental states arise due to specific causes and conditions. This aligns with the Buddhist sayings of dealing with anger, changing our perspectives from ‘I am angry’ to ‘There is anger’. This gives one the space to see emotions from a distanced view and understand them as not something to be taken personally.
The Three Marks of Existence
1. Anicca (Impermanence): Throughout the film, we see change as the only constant in Riley’s life. Her external environment shifts as she grows, but more profoundly, we observe internal changes in the complexity and intensity of her emotions, her core values, and her sense of self.
2. Dukkha (Suffering): Riley’s struggles with desires and cravings form a poignant portrayal of Dukkha. Her yearning for acceptance, success in ice hockey, and friendships often lead her towards Akusala (unskillful) thoughts, speech, and actions. These, in turn, cause her mental turmoil and suffering, demonstrating how our attachments and aversions can be the root of our discontent.
3. Anatta (Non-self): The film’s depiction of Riley’s mind, with its various emotions and impulses vying for control, clearly illustrates that there isn’t a single, unified “self” running the show. Instead, we see a complex interplay of aggregates, much as Buddhist psychology describes.
Universal Nature of Mental Processes
Another personal favourite part of the movie was how Riley’s parents were also shown to be governed by their emotions. This was clearly depicted in the puberty alarm scene when Riley was throwing a tantrum in the morning, saying she wasn’t prepared to go to camp and felt gross. Her mum initially entered the room sounding angry because Riley wasn’t packed.
However, upon observing Riley’s flustered and emotional state, her mum’s emotions – particularly Sadness – guided all emotions to “stick to the prepared script” she had for dealing with Riley’s emotional behaviours due to puberty.
This scene reminds us that everyone is subject to the same mental processes. It’s important to note that our parents, loved ones, colleagues, friends and basically everyone we interact with in life don’t always have a “prepared script” to deal with various situations, and are also controlled by our emotions.
Recognising this can foster empathy and compassion, as we understand that others are also influenced by their emotions and conditioning. This aligns with the Buddhist practices of loving-kindness and compassion.
As explained by Ajahn Amaro brilliantly in this video, having loving-kindness is not about “liking” everything, or “trying to think pink or have a positive attitude” towards every being, but to have kindness and open-heartedness to others, even when we may not like the actions or speech said by others.
We can still practise remaining kind and open-hearted to the person, in this case remembering that they are ultimately just like ourselves, governed by the same universal mental processes.
The Mountain of Kamma
The scene where Riley’s bad memories flood back serves as a wake-up call, both for her and for us as viewers. The huge mountain of memory orbs from Riley’s life thus far reminds us of the Buddhist understanding that we are the product of our kamma (volitional actions), our conditioning, and our experiences – both good and bad. As the Buddha taught:
“I am the owner of my Kamma, heir to my Kamma, born of my Kamma, related through my Kamma, and live dependent on my Kamma.”
Watching the movie reminds me that a balanced, aware approach to our inner world is crucial for personal growth. From a Buddhist perspective, this awareness is a step towards achieving the state of a sotapanna (stream-enterer) – one who has abandoned the fetter of identity view and has glimpsed the impermanent, unsatisfactory, and non-self nature of all phenomena.
Conclusion
“Inside Out 2” serves as a powerful metaphor for core Dhamma teachings. It reminds us of the ever-changing nature of our experiences, the potential for suffering inherent in our cravings, and the complex, interdependent processes that we conventionally call our “self.”
By reflecting on these themes, we can deepen our understanding of the Dhamma. We learn to see beyond our fabricated sense of self and recognise the impermanent and conditioned nature of all phenomena.
This understanding can lead us to navigate life’s challenges with greater wisdom and compassion, moving us closer to true peace and liberation.
In essence, “Inside Out 2” not only entertains but also enlightens, offering viewers a unique opportunity to contemplate profound Buddhist truths through the lens of a colourful animated world. It encourages us to embrace all aspects of our emotional life while cultivating a deeper awareness of the true nature of our existence.
BONUS iykyk: Perhaps in an alternate universe where Riley is a sotapanna in a movie called Outside In, you will see her sense of self disappearing in a vibrant electric spark ⚡️. And that will certainly shorten or perhaps put an end once and for all to all sequels of the movie.
Wise Steps:
Be mindful of how our emotions arise in different circumstances, recognising them as protective mechanisms that arise due to specific causes and conditions.
Cultivate understanding and compassion towards others, especially when we disagree with their viewpoints, by acknowledging the diverse emotions they experience and the different conditions they have encountered in their past.
Remember that our sense of self is composed of various causes and conditions and is subject to change. Therefore, we can continuously put in the right and wholesome conditions to become better people every day!
TLDR: We explore how Netflix shows, example the film “Hunger,” can offer opportunities for mindful contemplation of the Dhamma. We explore the dimensions of physical survival, sensual desires, and moral values.
Chilling Meaningfully with Netflix
Yes, we all know the euphemistic nature of the phrase “Netflix and Chill”. It is often characterized as a complete mental switch-off activity that is laced with sexual connotations.
Instead of engaging in either people watching or meditation, Netflix might be the band-aid solution for some (like me I admit) to ‘occupy’ time on seemingly long train journeys and bus rides.
Can we avoid wiling away precious time even as our eyes remain glued to the screen? How can we chill meaningfully with our favourite Netflix show?
As an avid Netflix enthusiast who often harks back (knowingly) to the screen on buses and trains, I will be sharing how the newly launched Netflix film Hunger (2023) has created room for me to mindfully tease out Dhamma and chill in a meaningful manner.
Spoiler alerts ahead!
HUNGER (2023): A Brief Sypnosis
Set in the bustling global city of Bangkok, Hunger (2023) narrates the story of young Aoy, a talented cook who aspires to enter the world of fine dining to become a professional chef.
Despite being reprimanded severely by master chef Paul for her incompetence in the kitchen, Aoy bites the bullet, practices hard and eventually gains the recognition and status she craves for.
Although she is now at the apex of her career, she does not feel a sense of complete satisfaction. What was she really striving so hard for? What are the trade-offs she has to make from this insatiable appetite?
After realising some important truths, she decides to throw the apron (pun intended) and truly be her own chef back at her modest family restaurant.
Here are three levels of hunger that the film explores!
LEVEL 1: Neutral Hunger for Physical Survival
The first dimension of hunger which the film portrays deals with physical hunger. As depicted in the film, many homeless and malnourished were lying along pedestrian walkways, curling into a ball as they quietly withstand their hunger pangs.
Without food, physical suffering (dukkha) in the stomach will likely hinder peace of the mind.
Although these scenes in Hunger (2023) may seem very trivial, hunger is a very real problem faced by many on a day-to-day basis. Living in a developed country, we may simply gloss over physical hunger and take for granted the food we consume every meal.
This first level of hunger ties in beautifully with the Sukha Vagga which mentions how hunger (as in the physical kind) is the worst kind of disease which needs to be addressed before realising Nibbana.
Subjected to extreme states of physical hunger, the mind cannot settle down quietly to focus on the spiritual path, constantly disturbed by bodily demands.
203. Hunger is the worst disease, conditioned things the worst suffering. Knowing this as it really is, the wise realise Nibbana, the highest bliss.
The second dimension of hunger which the film portrays deals with our sensual desires. For the wealthy elites, food goes beyond pure sustenance.
Instead, food becomes a status symbol and an unforgettable experience. As the film suggests, theme parties are often thrown by high-rollers to give their guests a once-in-a-lifetime sensation.
CR: Netflix’s HUNGER (2023)
From ‘Blood and Flesh’ (see picture above) to ‘Gladiator’-like settings, food becomes an interesting medium to tantalise one’s senses.
When this fleeting experience is over, what is ultimately left is the continuous craving for morE, moRE and MORE!
As peak experiences vanish, dissatisfaction arises. Conditioned to continue experiencing unique and out-of-the-world experiences, wealthy elites splurge on chefs like Aoy and Paul to materialise these experiences. However, when these extravagant food ‘performances’ are over, pleasant feelings fade and cease, perpetuating the vicious cycle of dissatisfaction once again.
As mentioned in Nandaka’s Exhortation, feelings (vedanā) are meandering patterns which arise, persist and fade perpetually based on a corresponding condition. Clinging on to pleasant feelings brought about through food will only lead to greater unhappiness and dissatisfaction.
146. Pleasant feeling is impermanent, conditioned, dependently arisen, having the nature of wasting, vanishing, fading and ceasing.
The third and final dimension of hunger which the film portrays deals with this nebulous idea of a superego (see the journal article written by Nass, 2017).
The superego is concerned with social rules and morality – similar to what people call as their “conscience” or their “moral compass”.
For example, I might be certain nobody will notice if I steal something. However, knowing that stealing is inherently wrong, I decided not to take anything even though I probably wouldn’t get caught.
This ‘wholesome’ hunger to right the wrong, be utterly real, avoid guilt and remove shame makes us truly human. In the film, when master chef Paul was cooking an endangered hornbill for a wealthy diner, Aoy felt completely disgusted by this ruthless act which goes against her personal morals of not killing protected wildlife to simply appease the ‘3-inch tongue’.
This breach in her deeply-rooted values prompts Aoy to leave the patronage of her master and chart her own culinary path.
Similar to the notion of the superego, the Buddha’s Discourse to Visakha spells out the importance of wise shame (hiri) and wise fear (ottappa) as the guardian of our thoughts, speech and actions.
Without a specific catalogue of principles and rules to tell us what is considered right or wrong, we can only rely on our trustworthy companions (hiri and ottappa) to navigate this VUCA (volatile, uncertain, complex and ambiguous) world we live in.
One who has shame (hiri) of doing evil, and fear of doing evil (ottappa), the two qualities which are called “the world guardians”
In a nutshell, the dimensions of hunger in Hunger (2023) can be illustrated in the pyramid below:
From Binge to Mindful Watching
In conclusion, Hunger (2030) has provided me with a fine-grained analysis of different dimensions and understandings of hunger.
While neutral hunger for physical survival is a given to generate energy for mental cultivation, more attention should be paid to both negative and positive hunger.
Synonymous with greed (lobha), negative hunger is the craving for things that we don’t really need.
Positive hunger through discernment, on the other hand, drives us towards the highest good. Just like what Ananda, Buddha’s attendant, advised Brahman Unnabha in Kosambi, it is possible to abandon desire by means of desire.
The desire to do good, avoid evil, conform to hiri and abide by ottappa are merely Dhammic ‘tools’ and ‘vehicles’ to carry one towards ultimate bliss.
When the highest good (nibbana) is attained, these positive hungers (desires) must eventually be allayed and forsaken.
For lay watchers like myself, this aspirational energy derived through such positive desires and hunger is important. Without these ‘desirable’ instruments, it might be very challenging to navigate tactfully through the vicissitudes of this life.
Whatever desire he first had for the attainment of arahantship, on attaining arahantship that particular desire is allayed. … So what do you think, brahman? Is this an endless path, or one with an end?”
Instead of purely binge-watching Netflix on a mental shutdown mode, why not take the next train journey or bus trip as an opportunity to practice mindful-watching?
Tying back what we consume to the Dhamma can help us find deeper meaning in the mundane routines of life.
Wise Steps:
Watch to destress but also watch to skilfully exercise the Dhamma. Netflix can indeed be a very powerful medium to make Dhamma come alive!
Relate your personal experiences with the series you are watching. A mundane everyday experience of consuming food can actually be your ‘teacher’ for life!
Hunger is ultimately a choice! Choosing the wrong kind of hunger invariably traps you in this vicious cycle of suffering. Choosing the right kind of hunger may be the key to emancipating yourself from this endless samsaric cycle.
TLDR: How would a conversation about Buddhism from three different perspectives (a Professor of Asian religions, a Zen monk and a Tibetan nun) turn out to be? Will we wake up in 2050 seeing true happiness?
*NOTE: This contains Spoiler for the film Waking up 2050*
In a world where technology and materialism often take centre stage, the quest for true happiness becomes even more elusive. Waking Up 2050 is a thought-provoking documentary that takes us on a journey to explore a common understanding of Buddhism from varied angles and its relevance in our ever-changing world.
Directed by Ray Choo, this film offers diverse perspectives from individuals living with Buddha’s teaching or learning and teaching it (Ani Pema Deki, Kodo Nishimura, and Prof. Daniel Veidlinger) shedding light on the profound teachings of Buddhism and its potential impact on our lives.
The documentary seems like separate interviews merged into a film without the questions asked out loud, an interesting structure as the viewers could still understand what the interviewees are referring to. The futuristic visuals serve as an additional anchor for contemplation with the presence of the director is cleverly noted in narrations throughout the film, gently steering the topics for the viewers.
Futurist Scene from Waking up 2050
Labels
Labels are often used for practical reasons, mainly as a point of reference in communication with others. We need a common term (e.g. a person’s / object’s name) for a conversation to be as effective.
Prof. Veidlinger teaches Asian religion at the University Chico and is often asked by students about the definition of Buddhism.
“Whatever people call it, I don’t know and I don’t very much care what it’s called”
Prof. Daniel Veidlinger
Let’s investigate: what is Buddhism, in conventional meaning and its true meaning? Some may define it in the rituals, some may define it as philosophy, others may categorise it as one of religion, or even differentiate it as spirituality.
What does being a Buddhist mean to individuals and society, and its true meaning? Or is ‘being a Buddhist’ what we need/should strive for?
Buddha said ..you don’t deserve the label ‘outer robe wearer’ just because you wear an outer robe
‘Outer robe’ represents a perception. How much does perception of oneself and others affect our definition of the surrounding world, including how we interact with that surrounding world?
Kodo Nishimura, a Zen monk who also dresses up and works as a make-up artist – is he fitting in the definition of ‘monk’? By whose definition? Would Lord Buddha approve of this choice?
Interestingly, monastics in Japan underwent a fundamental change from Buddha’s Vinaya (monastic rules). There were records of monks getting married during the Kamakura period (1185-1333).
However, the further secularisation of monastics for some sects was cemented in 1872 which allowed monks to be free to “eat meat, take wives, and shave their heads” as they chose.
Scholars suggest that allowing monks to marry was a ‘necessity’ to allow the continuance of inherited temple land to be passed on. The taking up of jobs beyond being a monastics was also done to fund their livelihood as some temples did not receive enough donations for day-to-day living.
Hence, this film might bring some form of cognitive dissonance for viewers who are used to monks being celibate and not in the ‘business’ of running temples. However, viewed through the lens of Japanese contemporary Buddhism, this is more rule than the exception.
Dhammapada 266:
He is not a monk just because he lives on others’ alms. Not by adopting outward form does one become a true monk
When Kodo Nishimura was uncertain whether he was disrespecting Buddhism by also being involved in the fashion industry, he sought advice from his Master and strengthened his conviction in his choice.
“The Master said if the message can be delivered to many people and you can spread it easier, I don’t think wearing something shiny is a problem”
Kodo Nishimura
The notion that monks are still involved in worldly roles (e.g. taking up occupation), even if the intention is to expand Buddhism and draw more laypeople to be interested in the teaching – would’ve been something beyond the concept of ‘monastic’ to me. However, when applied to how Buddhism has developed in Japan, this brought me to a greater understanding and how perceptions can differ by magnitudes when history & culture intersects.
Even though his views differ from my personal opinion, I found it helpful to not be overly attached to how a monk should behave in this film and instead just let that disagreement sit peacefully within me.
Japanese Honen Buddhism, Bhutanese Vajrayana Buddhism, and Thai Theravada Buddhism – are these conventions created by the mind? What are the benefits and drawbacks of such segregation and categorisation?
Scene featuring Ani Pema Deki, Waking up 2050
“The Dalai Lama often says Buddhism is religion, philosophy and science”
Ani Pema Deki
It seems to be a much deeper assessment than simple external perception. How many of us have genuinely adopted the full teaching to pass judgment? Or rather, would it still matter when one does reach such a level of realisation?
It feels like the effort to clarify such conventions may be less relevant to me, than using the same effort to take on the practice – of which the clarity would most likely arise from the journey.
Buddhism is often linked to Asia. In Southeast Asia where it is one of the major religions, many follow traditions that could be considered cultural practices (e.g. 7th lunar month prayer or praying to gods in general).
Where does culture and Buddhism meet? A way of life or a teaching? When those in Asian countries do things ‘a Buddhist is supposed to do’, does that make us a Buddhist?
“..if one sees the core Buddhism as a self-transformation, conquering desires.. to emerge into a more enlightened mode of thinking.. seeing the world as it is.. realise they’re impermanent – then the vast majority of Buddhists are not really practising. .. Though the essence of Buddhism is that there is no core that doesn’t change”
Prof. Veidlinger
Is there a benefit to an outsider’s mind looking at these practices and rituals to understand Buddhism? Is it a practice done in a specific place/time or can it be part of life? Embedded into our mindset, habits and values.
On the other hand, the female monastic topic has been an ongoing conversation. Ordination for female monastic is not allowed in many Buddhist lineages due to some scholars arguing that since the nun’s order died out long ago, it should not be restarted.
Restarting it, they argue, requires breaking the rules set down by the Buddha which required the presence of already fully ordained nuns. Hence, this creates a circular argument which cannot be easily resolved. For some who do, it isn’t at the same level of recognition as male monastic and with more rules applicable to females than males.
Emma Slade was ordained in Bhutan, taking the Buddhist name Ani Pema Deki. And because she has had a child, Ani Pema Deki feels that her ordination is the result of luck. Nevertheless, she feels the experience of caring for her child, a vulnerable being, with patience and love has helped with her practice.
“It is real combination and it’s very useful for the path”
Ani Pema Deki
When we ask ourselves, what is the reason I’m following this teaching? What has arisen for us: because that’s how it is with my family/society, or because I choose to follow the path from my understanding.
For many (including myself), it could start as automatic family/society culture and evolve into intentional choice from the ground of clearer understanding – which can be a path of its own.
Happiness in the world and beyond
The mind that is bent on finding meaning (or ‘happiness’ as it thinks), defining what’s right or wrong according to convention – seems like a turning circle with no end or rest. Similarly, the intention to present what is thought to be ‘perfect’ to the external world, is futile.
Amongst diverse worldly experiences packaged to bring happiness in the progressive world, will we wake up to true and lasting happiness when we arrive in 2050?
The next time we start a conversation with ‘I am..’, how would we continue the sentence? When we ‘do’ Buddhist instead of ‘be’ Buddhist, that’s probably a reminder to investigate the intention behind it.
At the end of the day, which is the more important question? Is the label used to refer to happiness or the actual path to arrive at true happiness?
“The teaching of Buddha-Dharma is limitless and boundless”
Narrator
Conclusion
In a world filled with uncertainty and rapid change, Waking Up 2050 aims to shed a guiding light, and illuminate the timeless wisdom of Buddhism and its potential impact on our life, today and into the future. As we navigate the complexities of the modern world, the teachings of Buddhism offer solace, inspiration, and a roadmap to true happiness. Let this documentary catalyse self-reflection and a source of hope as we strive to awaken to our fullest potential.
TLDR: The concepts of Death, Suffering, and Rebirth are major concepts in Buddhism, yet it may be hard for us to understand them via reading the suttas alone. Watching movies may present a different view of how people facing these challenges make sense of them.
The classic Beauty & the Beast “Tale as Old as Time” song evokes emotions as I reminisce about my grandmother’s stories during childhood. Stories have a magic that draws us in, like finishing a new Harry Potter novel in one sitting. For Buddhists, some of us are probably acquainted with the Jataka Tales (moral Buddhist tales typically geared toward kids). Movies are similar, telling stories in a visual format.
Here are 3 reasons why I am choosing to watch movies at the upcoming Thus Have I Seen Buddhist Film Festival (THISBFF) 2023, happening at Shaw Theatre Lido Singapore, between 23rd and 30th September (No spoilers here – except movie synopsis and materials provided by THISBFF)
Death – the Dreaded 5 Letter Word:
The word – “Death,” evokes strong visceral emotions in most of us. Death is said to be as natural as birth, for with childbirth, there would be eventual death. I learned this in secondary school Biology class. Nevertheless, accepting this reality remains a challenge for me.
I struggle with the idea of being separated from my loved ones. As I advance into midlife, labels like “Boomers” strike fear as it remind me that I am of a separate generation from Gen Z/Millennials. More importantly, it reminds me that I am so much closer to my death than when I was in my 20s.
Moreover, in 2019, I experienced a car accident, requiring life-saving surgery and four blood transfusions. This event profoundly heightened my perception of Death.
The movie –Review, where three terminal patients share their journey in facing death, intrigues me. How would I confront my mortality if faced with death? Hopefully, I won’t have to confront this reality for some time. However, the Buddha reminds the monks that we should maintain constant mindfulness of death, not just once a day but on every breath interval.
As a layperson, I find the practice of the 5 Daily Remembrances, one of which reminds us that “I am of the nature to die. There is no way to escape death,” is a practice that I can aspire to better follow, to start my acceptance of Death.
What Suffering Means to You?
I’ve come across the argument that ‘Suffering‘ inadequately captures the Pali term Dukkha, and I concur. I find ‘Unsatisfactoriness’ a more fitting representation of Dukkha.
Unsatisfactoriness covers a whole greater gamut of the challenges we face in our daily living – getting a passionately written article rejected can be a major source of discontent and pain to the aspiring writer, a non-event even for most people, and not warranting the big S-word “Suffering.”
Life’s small sufferings are portrayed in the movie –Vanishing Point, via two men, a young idealistic journalist and a purposeless middle-aged motel owner. It shows suffering isn’t transcended until we calm our minds. For me, the practice ofMettā (Lovingkindness) andKaruna (Compassion) has been my go-to emotion regulation practice to soothe my mental suffering, as I face the inevitable challenges in daily life.
In the movie – The Mountain Path, a young man embarks on a journey to meet a Buddhist hermit master atop a mountain. Along the journey, he encounters various personalities who teach him how to live in the world within himself.
This reminds me that the Buddha’s teaching has a significant emphasis on mind training, focusing on transforming us inside out. It involves using our daily life experiences as raw materials to transform our minds and ultimately help us overcome our suffering.
We cannot seek to run away from our pain via external means, we can only overcome the pain via internal mind-training. Bhāvanā or meditation, is the vehicle to train our mind, as taught by the Buddha.
How do we define Rebirth?
Rebirth is a concept that may not be universally accepted by all Buddhists and has been defined and explained in different forms.
The good news in Buddhism is that the Buddha encourages us to suspend our beliefs and discover the truth for ourselves. While I am not anywhere close to understanding the deep Dhamma of rebirth, I have been intrigued by the story of Angulimala’s rebirth from a murderer to a monk.
Angulimala, the infamous murderer who killed 999 people and would have killed his mother if not for Buddha’s intervention, intriguingly captures rebirth. The idea of rebirth from a murderer into a monk is vividly captured in the verse that the Buddha asked Angulimala to share with a pregnant mother who was having a problem birthing her child:
Angulimala shared: “Sister since I was born with the noble birth, I have never purposely deprived a living being of life. By this truth may you and the infant be safe!‘”
It is said that Angulimala’s noble birth, or spiritual rebirth, began with his ordination as a monk and culminated in his attainment of his Arahant (Fully Enlightened One). From this story, I see that a form of rebirth is when we shed our former role or identity to take on a new one.
What happens when we cannot fully transition into the new aspired role though? In the movie, “I Leave Home,” Sungmin, aspires to be a monk but is turned away for being over-aged.
I look forward to seeing his purpose/identity re-evaluation. This resonates with my journey, as I need to re-evaluate my goals and timeline for my mid-career transition, from being a Counsellor to a Data Analyst. Some changes may take longer than we planned, so how do we navigate such challenges?
Watching movies is the present commonly accepted form of listening to stories, for movies tantalise our eye senses besides our hearing senses.
Beyond stimulating the basic 5 senses, I hope these films can stimulate your 6th sense – the mind-sense. I hope it enables you to better understand and discover the wisdom of the above Buddhist concepts and beyond I look forward to reading some insights from the movie-goers to THISBFF 2023 in the HOL blog soon.
Wise Steps:
Look up the Thus Have I Seen Buddhist Film Festival (THISBFF) 2023 website here and check out the movies that interest you.
Get 10% off your tickets with this Promotional Code: AHOLTHIS2023
TL;DR: This a reflection of a short movie about Thich Nhat Hanh, his teachings and community. Let’s walk together.
I had the chance to join the DAYWA (Dhamma Assembly for Young Working Adults) group for the Walk with Me movie screening some weeks ago. It’s a documentary showing a glimpse of activities in Plum Village, the community founded by Thich Nhat Hanh in France after he was exiled from Vietnam during Vietnam war time. It is a space for practitioners to immerse themselves in Zen Buddhism and the art of mindful living.
The directors perhaps wanted to appeal to a wider population, accompanying it with narration by Benedict Cumberbatch – with his deep voice and strong British accent. And I believe it may have worked when he read several lines from Thich Nhat Hanh’s journal throughout the movie.
There isn’t much dialogue or scripted lines like we’re used to in movies. It contains snapshots of activities, short conversations, moving images or sounds of nature.
What may seem like random scenes strung together, turns out to be a strangely beautiful flow of the story for me.
Cr: Scenes from the film
Captivating scenes
One of the earlier scenes left a deep impression on me: a group of laypeople on their knees, waiting in line for ordination. What’s striking isn’t so much the act of joining the ordained ones, but the deep sense of relief I see in their faces. Tears flooded down their faces, not from grief, but as if a huge rock had been lifted off their chests.
Cr: Scenes from the film
Witnessing such an intimate emotion, I can’t help but tear up and wonder to myself: when was the last time I experienced such a huge relief? What is weighing us down in life?
Cr: Scenes from the film. I love the knowing smile of “welcome to the group”
The bell chime every 15 minutes was cited by many of us as a good reminder for mindfulness – stop whatever it is and catch our breaths intentionally while listening to the bell for a few seconds. The resumption of the activities seems as if nothing has disrupted the motion; if not with the attitude of new experience.
Perish
“Friends want you to appear in the familiar form they know. But that is impossible. How could we continue to live if we were changeless? To live we must die every instance. We must perish again and again in the storms that make life possible.”
A few sentences with an immense reminder to the ever-changing nature of life: we’re not truly living if we try to fix part of us from others’ memory of us and we can’t fix others based on our memory of them.
It also reminds me of one poem in Yung Pueblo’s book Clarity & Connection:
How can we have a real conversation if every time we speak I can see in your eyes that my words are not reaching you? They stop at a narrative you have created about me based on who I was many years ago.
A reminder to let go of the past – image and belief of something and someone. So we could be fully present with what is in front of us, even if it’s a version that we’re unfamiliar with or dislike about.
The movie wasn’t only filmed within the compound of Plum Village, but also journeys to the outside world to share Buddha’s teaching. It was interesting how the monks’ and nuns’ encounters in the U.S. (prison visit, park meditation, monk’s and nun’s visit of family) shine light on the many who don’t understand Buddhism.
The scenes showed how these monks and nuns patiently shared with those who’d like to listen, in a way relatable to them. It was almost funny how the prisoners seemed to be frightened or perhaps showing pity when the monk said monks/nuns do not hold possessions and don’t even hold their own money – as if to ask: who is the one living in jail? But who is the freer person – the one who chooses to drop things or who yearns for things being denied?
Final words
I’ve watched the piece for the second time to write this article and a third time to find meaningful scenes to include alongside and realise that I can ‘watch’ it with my eyes closed. The directors have inserted beautiful sounds of nature, chanting and singing, familiar yet unfamiliar words and melodies. This is the first time I’ve heard Namo Avalokistesvara being chanted alongside violin accompaniment – a new way to appreciate the words and embrace what it stands for.
Cr: Scenes from the film: A smile can be a beautiful sound
One may expect to see more scenes with the Master himself. While Thich Nhat Hanh does make a couple of appearances in answering a question from a little girl (she’s feeling sad because her dog has passed away) and scenes covering his presence in the hall, there are limited scenes of him. His teachings and messages are cleverly transmitted through the actions and energies of his students; even in mundane activities like (mindfully) sipping a small cup of tea.
In summary, this may not be the typical movie or documentary.
One needs to appreciate and trust the flow enfolding every new second, as our self-held expectations and mind search for particular meaning or story, which is the result of a mind habitually trained at grasping. We can probably practise what Thich Nhat Hanh himself taught and come home.
Key Reflections:
Keeping ourselves open to new activities with a new group of people could result in a positive experience
The group may be watching the same film, but the message that strikes us individually may be different depending on our internal world
Lengthy script isn’t necessary to transmit a message that is well-woven in the visual, audio and tone of the piece
