Manakamana

Manakamana, a visually eloquent and deeply meditative documentary produced by Stephanie Spray and Pacho Velez in 2013, is nothing short of an extraordinarily profound cinematic experience. An authentic work of ethnofiction that slowly unfurls the cultural fabric of Nepal, the documentary takes a route less travelled, eschewing the conventional paradigms of storytelling. The movie does not feature a traditional cast, but real people who populate its narrative landscape – Chabbi Lal Gandharba, Anish Gandharba, Bindu Gayek, and numerous others.

Manakamana chronicles a series of unscripted, non-narrated, and largely static shots of individuals, pairs, and small groups of pilgrims as they partake in their spiritual journey towards the Manakamana Temple. This revered temple, believed to grant the wishes of all who visit, is situated more than a mile above sea level in the Gorkha District of Nepal. The journey presents an unspoken dialogue illuminating the contrast and symbiosis between tradition and modernity in a rapidly changing Nepalese landscape.

The connecting thread in Manakamana is the cable car, a symbol of modern technology that has simplified the once gruelling several days long trek to the temple into a serene 10-minute ride. From within the confines of the cable car, viewers experience a rich tapestry of human interpersonal dynamics against the mesmerizing backdrop of the lush, verdant tracts of the Nepalese terrain below.

Each scene is an obsidian mirror reflecting diverse facets of Nepalese society. We encounter elderly indigenous women, city-bound youths, musicians, tourists and even a trio of goats, each with their distinct perspectives and narratives. The cable car serves not only as a physical transport introducing the viewer to different strata of Nepalese society, but also as a temporal conduit, subtly hinting at the interplay of past, present, and future within their lives.

Stephanie Spray and Pacho Velez capture these intriguing vignettes in a rhythmic fashion, creating a subtle cinematographic symmetry characteristic of meta-cinema. Each individual ride on the cable car unfolds a new chapter where the passengers unknowingly perform the roles of storytellers, weaving narratives through their nuanced interactions, heartfelt confessions, and silent contemplations. Despite the absence of a conventional plot, the film maintains a deep sense of intrigue and suspense with its vérité-style footage.

For the viewers, the journey becomes an immersive experience, as they share in the anxiety, exhilaration, tranquillity, and wonderment of the pilgrims. The film's masterful editing and cinematographic choices create a unique paradox of movement and stillness, forcing the viewers to engage on an almost meditative level. As silent observers, viewers grapple with themes such as faith, belief, tradition, modernity, and the passage of time, casting a contemplative look at their own realities in the process.

Chabbi Lal Gandharba, Anish Gandharba, and Bindu Gayek infuse elements of authenticity and raw emotion in the film. As non-actors, their genuine reactions and dialogues serve as a window into the simplicity and complexity of life in Nepal. Their presence adds the layers of depth and emotionality that make the film an engaging watch.

Amid the scenes of human interaction, the environment becomes another character in the film. The breathtaking view of the rugged Nepalese terrain coupled with the ambient sounds of the environment create a rich sensory layer to the film. Sounds of the creaking cable car ropes, temple bells tolling in the distance, humming of Nepalese folk tunes, and even the rustling of candy wrappers, all contribute to the distinctive auditory experience of the film.

Manakamana underscores the power of showing over telling, of human observation over exposition, and gives us insight into how life is experienced in other parts of the world. It is a film of contrasts - modernity versus tradition, city against countryside, youth against age, and silence against noise. It's a beautiful meditation on change — individual, societal, and environmental — presented in a simple, nonintrusive, yet visually and emotionally evocative tapestry.

In conclusion, Manakamana is an unconventional film that stretches the boundaries of traditional cinematic storytelling. It captures the transient yet unforgettable vignettes of human existence while paying homage to the unique vibrancy and resilience of the Nepalese culture. Through its slow cinema approach, it compels the audience to pause, observe, and reflect. As a cultural and anthropological document, it is more than just a movie - it is a poetic synthesis of the soul of Nepal.