Kunsang Wangmo is one interesting human and the subject of the fascinating feature documentary, Mola. Entering a Buddhist monastery at the age of six, she married a monk, gave birth to two children, and fled Tibet when the Chinese invaded in 1950. Living with her daughter Sonam Dolma Brauen and son-in-law Martin Brauen in Bern, Switzterland, Wangmo is quickly appraoching her 100th birthday. Still filled with life and vigor, she makes it clear that her wish is to die in Tibet. Directed by Martin Brauen and Yangzom Brauen we get a beautiful portrait of a life lived with conviction up until the last moment.
The title of the film, meaning grandmother, is what Wangmo affectionately goes by. As the film opens we get a good feel for Mola’s current living situation with her family in Switzterland. It’s nice, very comfortable, but it is a mere perch from which to reflect on a far more storied life.
We learn of Mola’s history, her life as a nun, her journey from Tibet, and then her eventual landing in Switzterland. despite reaching a century she is still bubbling over with life, character, and opinions. Her strongest wish is to get back to Tibet to live with her other daughter so that she can die there. While daughter Sonam takes care of Mola’s day to day needs, Brauencorresponds with the impossibly difficult Chinese government to get Mola’s passage approved. Time is running out though and the deadline is nebulous.
With that basic arc, we observe the enduring humanity that functions within the confines of rigid structures. Life in Switzerland isn’t what Mola wants, but she finds purpose and meaning in exile. Her daughter and son-in-law battle the government and circumstances to accomidate a life worth living. Mola’s seemingly restrictive life as a nun only serves to accentuate her gregarious personality and relentless energy. Most imperative, however are the seemingly boundless wishes of a person facing mortality. The Brauens craft a quiet documentary that captures the final years of a monumental life while depicting the paradoxical nature of humans.
Mola isn’t a provocative documentary, though it skirts the caldera of religious freedom and human rights. Instead the film focuses on a singular human story. We watch as daughter Sonam struggles to honor her mother’s wishes while tamping down her complicated feelings of grief and loyalty. We observe as Martin Brauen carries out his mother-in-law’s request while documenting the journey. The film also touches on the remarkably painful stretch of time where a loved one begins to disappear as survivors remain to carry out tasks.
A loving tribute to a remarkable life, Mola is a beautifully honest portrait of an endlessly intriguing subject in her final years.
MOLA – 7/10
