Balloon – Qi qiu (2019)

Directed by: Pema Tseden | 102 minutes | drama | Actors: Sonam Wangmo, Jinpa, Yangshik Tso, Yangchuk Tso

It’s the eighties. China has just introduced the one-child policy, making it a crime to have a second child. We experience the time period from the perspective of a Tibetan family, represented by father Dargye (Jinpa), mother Drolkar (Sonam Wangmo), their three sons and a grandfather. The family leads a quiet, contented life in the Tibetan mountains, herding sheep for a living. However, the harmony of the family is put under pressure by the discovery of a condom. As emotions run high and long-hidden cases come to light, the family is faced with a painful and indelible choice.

‘Balloon’ is the latest film by Tibetan filmmaker Pema Tseden. The director has made an extremely calm and controlled film, which is always in sharp contrast to the explosive premise of the story. Tseden shows early on that he is not interested in frills and banalities. He has a goal in mind and a message to convey, which he ultimately achieves in an unconventional way. ‘Balloon’ has obvious flaws, but Tseden’s audacity to forge his own path is without a doubt commendable.

Much of ‘Balloon’ is devoted to themes such as reincarnation, worship and religious processions. We witness a completely authentic Tibetan way of life. By concentrating strictly on this way of life, Tseden eliminates dialogue and aspects such as image and sound come to the fore in his film. The Tibetan director thus creates a universal work that knows almost no language barriers. That feels authentic, which is also supported by the actors. Jinpa (Dargye) and Sonam Wangmo (Drolkar) are relatively unknown names in the film world. The casting of these actors makes the whole of the film just that little bit more believable. These are the faces of real, authentic people. As a result, sometimes you feel like you’re not watching a movie, but real life.

Through his approach, Tseden succeeds with verve on a visual and emotional level. However, emotionality and tension are regularly absent. We observe the lives of the characters, but we never get inside their heads. We know what the one-child policy is, but we never delve deeper into the matter of population control policy. We can guess about the mutual relationships between the community members, but we don’t get actual answers about this. It’s nice that ‘Balloon’ doesn’t pre-chew everything for the viewer. Still, a higher level could have been achieved, especially on an emotional level, if a little more thought had been given to the dramatic plotline and community background.

As a spectator it ultimately comes down to what you want from a film. If you attach great importance to structure and character development, then the film may touch you less. If Tseden’s vision appeals to you, then most likely a pleasant viewing experience awaits you.