The Sun Beaten Path Prelim Press Kit Cannes copywebfiles.pardo.ch/perm/3109/338/OC564743_P3109_151338.pdfScript Consultants 8912 3 Tserang Dondrub(Cailang Dongzhu ': 5 ; ) Sun Liang

PRESS KIT

OFFICIAL SELECTION – HONG KONG INTERNATIONAL FILM FESTIVAL 2011

ASIAN DIGITAL COMPETITION – SPECIAL MENTION

‘THE SUN BEATEN PATH’ 太阳总在左边太阳总在左边太阳总在左边太阳总在左边

(‘Ulam kyi Nima’ aka ‘Yulam kyi Nima’)

Written, produced and directed by

Sonthar Gyal (Songtaijia 松太加松太加松太加松太加)

Starring: Yeshe Lhadruk (Yixi Lanzhou 益西兰周)

Lo Kyi (Luo Houjie 罗后杰)

Kalzang Rinchen (Gacang Renqing 尕藏仁青)

International Sales: The Film Library

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‘THE SUN BEATEN PATH’

太阳总在左边太阳总在左边太阳总在左边太阳总在左边 (‘TAIYANG ZONG ZAI ZUOBIAN’/ ‘ULAM KYI NIMA’)

SYNOPSIS

A moving tale of redemption and a quietly powerful contemplation on the Buddhist concepts

of attachment and impermanence as we follow Nima’s journey across the Gobi Desert after

his long pilgrimage to Lhasa and a horrible tragedy.

This is a film about redemption.

Groom-to-be Nima and his brother Gabe pick up their mother at a crossroad after her visit to

their sister’s in town. The three return home happily as mother rides at the back of Gabe’s

motorbike while Nima follows closely with a brand new hand tractor. But when mother’s

waist band suddenly gets caught in the motorbike’s wheel Gabe loses control and she falls off

the bike. In the midst of the chaos on the dusty road Nima, an inexperienced driver, runs

over his mother with his tractor …

Tormented by guilt and grief Nima cannot forgive himself. He tries to turn himself in at the

police station but is only told that it is just an accident. Immersed in the river of pain and

sorrow Nima abandones his bride-to-be and embarks on a long and lone prilgrimage to

Lhasa, prostrating all the way and carrying with him a handful of soil stained with his

mother’s blood.

However, the long and arduous journey does not relieve Nima’s pain. Not bearing to leave

the blood-stained soil in Lhasa, a numb Nima begins his journey home by bus, still carrying

the soil with him. But the speed of the return is an intolerable contrast to Nima and he

decides to get off the bus and walk the rest of the way across the Gobi desert, resisting with

each step as he gets closer to home…

In the meantime an old man on the bus has just returned from his daughter’s wedding in

Lhasa. With his lifelong wishes fulfilled and his children married, the old man suddenly feels

empty and confused about what life should hold next for him apart from death. By a chance

encounter the old man learns of the source of Nima’s suffering and decides to follow him.

As the two crosses into the vast no man’s land of Tibet, the last tooth of the old man falls out

and the first snow descends onto the mountains …

ABRIDGED SYNOPSIS

On his way home from a long pilgrimage to Lhasa, Nima is still haunted by the guilt and pain

he suffered after a horrible tragedy. Transversing the vast Gobi desert alone on foot, a

forlorn Nima meets an unlikely companion in an old man who will follow him on his path of

redemption across the no man’s land of Tibet…

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DIRECTOR’S STATEMENT and STYLISTIC NOTES

In the beginning…

My father once told me a story from the Buddhist scriptures when I was still a child: One

year the plague took away the life of a young boy. His mother could not accept this cruel fact.

She kept holding onto the dead child’s icy body and murmured his name, hoping to bring

back his life. But all that was in vain. So this woman went to the Buddha and asked him

how to bring her child back to life. Buddha told her there was a kind of herb called the

‘lucky herb’ which would save her child if she could find it. He said this herb could be

found in homes where no one from the family had died before. Full of hope the woman went

from house to house, ceaselessly seeking the lucky herb that could save her son. But as big

as the world can be, there was not a single family that had not experienced death before and

no one could save her son. Buddha then enlightened her by saying: “Now you understand

there is no family that has not experienced death before. With every phenomena in the world

where there is life there must also be death. With every creation there must be destruction.

Impermanence is the natural order of everything. Every sentient being that is living must

also experience death. Your son’s death is also a necessary fact that had to happen.”

The story left a very strong impression on my young mind, and it was also the first time that I

had felt the painful word of death. On this long journey of life, we will always come to

experience the passing of some of our loved ones, and may be overshadowed with brief, or

some may get depressed. But regardless, things never stay the same, and life is impermanent.

This is an unchangeable fact whether you want to accept it or not. But as long as one can see

the equality of life, and the necessary, natural stages of development of everything, then I

think, to a certain degree everyone will also be redeemed and be able to face all pain calmly.

Afterall, life will always goes on.

‘The Sun Beaten Path’

In the boundless expanse of the Gobi Desert, on a black asphalt road that extends far into the

horizon, two shadows are moving along the dazzling road…

This is a scene that came to my mind when I first started writing the script. This is also an

image that I visualized each time I came face to face with that virgin stretch of land around

Golmud on my way to Lhasa. I already had the urge to write a script about this part of the

Gobi Desert a few years ago. And then by chance I heard about a real life tragedy from my

hometown: two brothers happened to run over their own mother in an accident and killed

her. I was very shocked when I heard the story, and many questions started to haunt me: if

such an incident should happen to me, what should I do? How would the brothers face their

future life? Would they have the courage to confront life again? And if so what would it be

that drove them on? Would it be religion or some other kind of force? … Many such

questions continued to haunt and torment me.

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DIRECTOR’S STATEMENT and STYLISTIC NOTES

Then I gradually started to imagine or guess the fate of these two characters, and began to

plot their future through the planning of the script. In the beginning I started from a

psychological or cultural angle. This is because religion is of utmost importance to the entire

Tibetan people and religious beliefs permeate every aspect of Tibetan life. So in the early

stages I tried to redeem the brothers through religion. But gradually I found such a method

weak and very trite. At least as far as the script was concerned there was no new challenge or

any breakthrough. And I did not want a conclusion that is based on some dramatic event

designed to enlighten the protagonist and redeem him at the same time. I also refused to plot

some sort of didactic means of redemption. But then how could I redeem them? That is the

question that occupied me over the last two years.

At the end I still felt it much more powerful to have the brothers redeemed through life itself.

This is much more in accordance with the culture or sentiments Oriental people have towards

life, and definitely much more in tune with how Tibetans understand and experience life and

the nature of life itself. The present script was born out of these fundamental ideas. At the

same time I also moved the setting of the script to the Gobi Desert, because the desert can be

very wearing on the protagonist’s mental state. The sense of distance between people also

becomes very interesting when two strangers are put in the middle of the boundless desert.

I have juxtaposed the past and present in my narrative in order to heighten the tempo of the

film. Reality of the present has been placed upon Nima’s psychological state after he had

already returned from his pilgrimage to Lhasa. His inner journey from confusion to sunshine,

from having lost and found himself again, corresponds with the filming style: 18cm and

25cm lenses were used to quietly observe Nima at close range, to listen to his heartbeat and

breathing, and to try to peep into his eyes in order to feel his restless soul.

A good film has a soul, and like a human it also breathes and has heartbeat and a pulse. My

biggest wish is that the audience will be able to sense its existence with their hearts when

they are watching the film.

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ADDITIONAL PRODUCTION AND STYLISTIC NOTES

BY THE DIRECTOR

This is a film about redemption, which presumeably will have to touch upon philosophical

issues. But I have always resisted any philosophical analysis or didactic approach in my

creative process, and also refused to lecture on the philosophy of life through film. For my

trilogy on ‘Sunshine’, this film being the first, I envisage a style that is simple yet solid in

form, and generous in spirit. In the film the unusual should permeate the ordinary, and

sunshine is to be felt in the cold and dark. It should be a film that is full of flesh and blood,

and emotion. And the camera is like a gentle and stern eye that is quietly observing and

faithfully recording the actors and sets.

Traditionally when described by outsiders Tibet simply cannot escape such labeling as

‘mysterious’ or ‘pure’. These labels carry with them a certain lack of understanding of

Tibetan culture which is prevalent and significant in modern history. Specific geographical

and cultural settings have contributed to and proliferated a “visualised’ or ‘symoblic’ Tibetan

culture which has traditionally only been bestowed (instilled) and not expressed (with one’s

own will). And it seems the emotional world of the true flesh-and-blood Tibetan people is

often diluted or submerged beneath such external appearance.

My ‘Sunshine’ trilogy shall insist on creating the other face of Tibet, a flesh-and-blood, and

worldly Tibet.

The film was shot over 25 days in the Gobi Desert between Qinghai and Tibet.

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太太太太阳总在左边阳总在左边阳总在左边阳总在左边 (‘TAIYANG ZONG ZAI ZUOBIAN’/ ‘ULAM KYI NIMA’)

CAST

Nima (Nima 尼玛) Yeshe Lhadruk aka Yeshi Lhadrou

(Yixi Lanzhou 益西兰周)

Old Man (老人) Lo Kyi aka Lohe Jey

(Luo Houjie 罗后杰)

Brother (哥哥) Kalzang Rinchen aka Kalsang Renchen

(Gacang Renqing 尕藏仁青)

Mother (母亲) Lhakyed Ma (Lajima 拉吉玛)

Sister in Law (嫂子) Rekdsen Drolma (Renzen Zuoma 仁增卓玛)

Nima’s fiancée (尼玛未婚妻) Yangshou Tso (Yang Siucuo 杨秀措)

Truck driver (卡车司机) Gonbo (Gongbao 公保)

Hotel receptionist (旅店服务员) Tandren Kyed (Dan Zhengji 旦正吉)

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CREW

Producer/Scriptwriter/Director: Sonthar Gyal (Songtaijia 松太加) 制片人／編劇／導演:

Executive Producer/Presented by 出品人: Li Jingyang 李景阳

Producers 制片人： Li Xing 李兴

Lu Yuanyuan 鲁缘缘

Sangye (Sang Jie 桑杰)

General Production Supervisor 总监制: Xu Feng 徐枫 Ren Shaojiang 任绍江

Artistic Supervisor 艺术指导: Pema Tsedan (Wanma Caidan 万玛才旦)

Li Xing 李兴

Director of Photography 攝影指導: Wang Meng 王猛

Sound Recordist/Composer/Singer/Mixer: Dukar Tserang (Dege Cairang 德格才让) 录音/作曲/演唱/混音

Art Director 美術: Phakpa Kyab (Puhua Jiebu 普华杰布)

Editors 剪接： Sonthar Gyal (Songtaijia 松太加)

Qian Lengleng (钱冷冷)

Make-Up Artist 化裝： Wu Jialin 吴佳林

Costumes 服裝： Phakpa Kyab (Puhua Jiebu 普华杰布)

Production Planning 策划： Lu Zhicheng 鲁志诚

Dan 郁丹

Production Supervisors 监制： Yang Yi 杨艺

Wang Qiuhua 王秋华

Script Consultants 文学策划： Tserang Dondrub(Cailang Dongzhu 才朗东主)

Sun Liang 孙亮

Production Company 出品公司: Beijing Fang Jin Television Media Co. Limited

方金影视文化传播（北京）有限公司

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CREW BIOGRAPHY/FILMOGRAPHY

Director: Sonthar Gyal (Songtaijia 松太加松太加松太加松太加)

Born into an art teacher’s family in the Tibetan region of Amdo, Sonthar Gyal grew up

amongst shepherds and herdsmen in Qinghai Province and was taught to draw ‘thangkhas’ –

traditional Buddhist paintings - by his father. While he loved watching films as a schoolboy

and dreamt of being a filmmaker, he worked as an art teacher and a curator at the Tongde

Cultural Museum instead after graduating with a B.A. in Fine Arts at the Qinghai Normal

University in 2003. As an artist he created a body of work including the“Life Series”, the“Red Series”and over fifty paintings between 1994-2000.

Sonthar’s dream to become a filmmaker came true when he received a grant to study at the

Beijing Film Academy for two years, majoring in cinematography. He became a prominent

member of the first generation of Tibetan filmmakers who started making films in the

Tibetan language, having worked on many such productions as art director or

cinematographer. Amongst others he regularly collaborated with Pema Tsedan on many of

his films such as ‘The Search’ and ‘The Silent Holy Stone’.

‘The Sun Beaten Path’ is Sonthar Gyal’s first feature as a director.

FILMOGRAPHY

As Art Director / Director of Photography

2003 The Silent Holy Stone Short, DV Art Director

2004 The Grassland Short, 35mm ArtDirector/Assist. Cameraman

2005 The Last Hail-Suppression Man Documentary D.O.P.

2005 The Silent Holy Stone Feature Art Director

2007 Empowerment Ceremony at Kathog Documentary D.O.P.

Monastery

2007 The Hua Rong Road Feature D.O.P.

2008 Samye Monastery Docu. Feature D.O.P.

2009 The Search Feature D.O.P.

2009 Dating at Dusk Feature D.O.P.

2009 The Flying Kite Feature D.O.P.

2009 Guanyin Cave at Mt. Wutai Documentary D.O.P.

2009 Pushou Monastery at Mt. Wutai Documentary D.O.P.

2010 Embrace of Mountain Spirits Documentary Art Director/D.O.P.

2011 Old Dog Feature D.O.P.

As Director:

2006 Homeland Short Director/D.O.P.

2011 The Sun Beaten Path Feature Director

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CREW BIOGRAPHY/FILMOGRAPHY 松太加松太加松太加松太加主要作品有主要作品有主要作品有主要作品有：《静静的嘛呢石》短片美术 2003 年《草原》）短片美术、副摄影； 2004 年《最后的防雹师》纪录片摄影师 2005 年《静静的嘛呢石》剧情长片美术 2005 年《家园》短片导演，摄影 2006 年《噶托大法会》纪录片摄影师 2007 年《华容道》剧情长片摄影师 2007 年《桑耶寺》纪录长片摄影师 2008 年《寻找智美更登》剧情长片摄影师 2009 年《名寺高僧之五台观音洞》纪录短片摄影师 2009 年《名寺高僧之普寿寺》纪录短片摄影师 2009 年《相约黄昏》剧情长片摄影师 2009 年《风筝再次飞起》剧情长片摄影师 2010 年《老狗》剧情长片摄影师 2011 年《太阳总在左边》剧情长片编剧/导演 2011 年

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Director of Photography: Wang Meng (王猛王猛王猛王猛)

Wang graduated with a Masters degree in cinematography from the Beijing Film Academy in

2009 and has worked as a cameraman and digital colour grader before collaborating with

director Sonthar Gyal on his first feature - ‘The Sun Beaten Path’ - as Director of

Photography.

FILMOGRAPHY:

2007 The Hua Rong Road Feature Assistant Cameraman

2011 The Sun Beaten Path Feature Director of Photography

2011 ‘Ting Shuo Aiqing Lai Guo’ Feature Director of Photography

2011 ‘Yueliang Chuan’ Feature Director of Photography

2011 ‘Old Dog’ Feature Colour Grader

电影《华容道》副摄影

电影《太阳总在左边》摄影

电影《老狗》调色

电影《听说爱情来过》摄影

电影《月亮船》摄影

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Sound Recordist/Composer/Singer/Mixer: Dukar Tserang (Dege Cairang 德格才德格才德格才德格才让让让让)

Dukar Tserang was born in the Tibetan area of Amdo in Qinghai Province and is the first

Tibetan sound recordist working in China. He graduated with a B.A. in Tibetan Literature at

the Northwest University for Nationalities and then went on to study at the Beijing Film

Academy, majoring in sound.

He started composing and producing music in 2000 and has composed over 20 popular songs

including ‘Guxiang’ (‘Homeland’). He has won many awards as a singer including ‘Great

College Singer of the 21st Century’ and currently works as a sound recordist, singer, sound

engineer and music producer. In his spare time he also writes for professional music journals

and internet magazines.

FILMOGRAPHY:

2004 The Weather man’s Legends (Documentary for Discovery Channel)

Original Music and Singing.

2005 The Silent Holy Stones (Feature)

Sound Recordist assistant, Composer and Singer: Theme song

2006 Milazizi (Animation Short)

Composer and Singer

2007 The Gyuto Monlam (Documentary)

Sound Recordist, Composer and Singer, Sound Mixer

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2007 Samye Temple (Documentary for CCTV)

Sound Recordist, Composer and Singer, Sound mixer

2007 Hua Rong Way (Feature)

Sound Recordist, Composer and Singer

2009 The Search (Feature)

Sound Recordist, Composer of Interlude Song and Singer, Sound mixer

2008 Snow on the Bayan Har Mountain (Feature)

Sound Recordist, Sound Mixer, Composer and Singer of theme song

2009 The Summer Holidays (Feature)

Composer

2010 Tibetan (Personal EP song)

Composer and Singer

2010 Yushu Flowers (Feature)

Sound Recordist

2010 Dove Whistle (Feature)

Sound Recordist, Sound mixer

2010 The Monkey King (3D Feature)

Sound Recordist

2011 Old Dog (Feature)

Sound Recordist,Sound mixer

2011 The Sun Beaten Path (Feature)

Sound Recordist, Composer and Sound Mixer

德格才德格才德格才德格才让让让让藏族首位电影录音师，来自安多藏区，先后就读于北京电影学院录音系、西北民族大学藏语言文学系，文学学士。2000 年开始音乐创作及制作，创作并演唱《故乡》

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等二十余首歌曲，荣获二十一世纪校园优秀歌手等多种奖项，业余为网络及专业音乐杂志撰稿。现为电影录音师、音乐制作人。影影影影视创视创视创视创作品作品作品作品，，，，主要有主要有主要有主要有：《燃情香巴拉》（剧情长片 2004）原创音乐；《最后的防雹师》（Discovery 纪录片 2005 ）原创音乐；《静静的嘛呢石》（35mm 彩色故事片 2005）词曲演唱；录音助理；《健和纤梅》（广告动画 2006）原创音乐；《电梯》（剧情短片 2006）编导、录音、原创音乐；《鸭子和大雁》（35mm 彩色故事片 2006）录音助理；《米拉子子》（动画故事短片 2006）原创音乐；《噶陀寺大法会》（纪录片 2007）录音、原创音乐；《华容道》（剧情长片 20007）副录音、原创音乐；《桑耶寺》（中央电视台名寺高僧系列纪录片）录音、原创音乐；《喇叭裤飘荡在 1983》（剧情长片 2008）录音、原创音乐、演唱。《寻找智美更登》（剧情长片 2009）录音、原创音乐。《暑假》（剧情长片 2009）原创音乐。《风筝再次飞起》（剧情长片 2009）原创音乐。《玉树花开》（剧情长片 2010）录音。《鸽哨》（剧情长片 2010）录音。《神的怀抱》（纪录片 2010）录音、原创音乐。《西游记之大闹天宫》（3D 电影 2010）录音《太阳总在左边》（剧情长片 2009）录音、原创音乐、演唱。《老狗》（剧情长片 2011）录音。

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Art Director/Costumes: Phakpa Kyab (Puhua Jiebu普普普普华华华华杰布杰布杰布杰布)

Phakpa Kyab was born in the Hainan Tibetan Autonomous Region of Qinghai Province and

graduated in Tibetan Fine Arts at the Qinghai University for Nationalities. He is currently

studying towards a Masters degree in the history of Tibetan sculptures at the Univeristy of

Tibet. As an artist he has created a prolific body of work in paintings and installations, and

has exhibited widely, including participation in the Exhibition of Contemporary Tibetan Art

and Exhibition of Conceptual Art in Qinghai Province. He has also published many papers

on Tibetan art.

FILMOGRAPHY:

2005 The Silent Holy Stone Feature Assistant Art Director

2006 Homeland Short Art Director

2011 The Sun Beaten Path Feature Art Director

普普普普华华华华杰布杰布杰布杰布

男，藏族，1984 年生于青海省海南藏族自治州。2006 年毕业于青海民族大学艺术学院美术系藏族传统美术专业，并获得艺术学学士学位。目前就读于西藏大学艺术学院美术系硕士研究生，专业方向为西藏宗教雕塑史论。先后参加了青海省青年书画展、青海省首届观念艺术展和西藏当代艺术展等。参与参与参与参与电电电电影影影影：：：：

2006 年参加藏族首次本土母语电影《静静的嘛呢石》的拍摄，并任副美术；

2006年参加藏族剧情短片《家园》的拍摄，并任美术师；

2010 年参加藏族剧情长片《太阳总在左边》，并任美术师；绘绘绘绘画作品画作品画作品画作品：：：：《性与灵系列》《物语系列》《大地之灵》《光与影》《几世的等待》《诞生》《蜘蛛死于太阳落山时》《晚餐后的五个樱桃》《在电脑前瞌睡的人》《人走了烟还未燃尽》《记忆中消失的墙》等。装置作品装置作品装置作品装置作品：《第二张面孔》《超越时空》《重构》《主人不在家》《呕吐》《被机械复制的佛陀》《T215火车》《电线》《巢》《人.人.人》《没有耳朵，没有眼睛，没有嘴巴》等。论论论论文作品文作品文作品文作品：：：：《解读与反思西藏当代艺术动态》《西藏当代艺术话语结构的转型》《身份的焦虑—藏族当代绘画的文化立场思考》《西藏宗教艺术面临的困惑》《符号表象与原始想象—西藏祭祀面偶“朵玛”的造型意识研究》、《探究西藏宗教供品“朵玛”之早期造型风格》《解读青海大通马家窑和宗日文化遗址出土的“连臂舞”陶器纹理涵义》等。

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Makeup: Wu Jialin 吴佳林

Wu Jialin was born in Sichuan and graduated from the Central Academy of Drama Theatre in

Beijing. He has worked on many features, TV dramas and specials, operas and live

performances.

FILMOGRAPHY:

《老江湖》《草原英雄小姐妹》《高高的瞭望塔》《太阳总在左边》电视剧电视剧电视剧电视剧：：：：《缉毒先锋》《角斗士》电视栏电视栏电视栏电视栏目目目目：：：：中央电视台《星光大道》北京卫视《档案》歌歌歌歌剧剧剧剧：：：：《茶》演唱会演唱会演唱会演唱会：：：：哈辉个人巡回演唱会

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Production Company Profile: Beijing Fang Jin Television Media Co. Limited

方金影方金影方金影方金影视视视视文化文化文化文化传传传传播播播播（（（（北京北京北京北京））））有限公司有限公司有限公司有限公司

Beijing Fang Jin Television Media Co. Limited was set up in 2006 to primarily invest in,

produce and distribute film and TV productions.

To date the company has already produced over ten features and supported many award-

winning young filmmakers in China. 公司作品：电影《华容道》导演：李艺其；电影《迷路的天使》导演：陈纲；电影《相约黄昏》导演：郑阳，入围电影频道百合奖最佳影片；电影《青春盛宴》; 电影《五十米生死线》张耀艺；电影《恋爱方程式》王之；电影《孔明灯》导演：魏阿挺; 电影《喇叭裤飘荡在一九八三》导演：万玛才旦；电影《太阳花籽》导演：魏阿挺，入围德国法兰克福独立影像展最佳影片；电影《暑假》导演：邹亚林；电影《风筝再次飞起》导演：郑阳；电影《惊弓之鸟》导演：郑阳；电影《我和你》导演：魏阿挺，入围西班牙电影节；电影《百年情书》导演：金舸，入围第 18 届北京国际大学生电影节；电影《太阳总在左边》导演：松太伽，获 35 届香港国际电影节亚洲数码单元特别表扬奖。

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CAST BIOGRAPHY/FILMOGRAPHY

Lead Actors: Yeshe Lhadruk aka Yeshi Lhadrou (Yixi Lanzhou 益西兰周)

Lo Kyi aka Lohe Jey (Luo Houjie 罗后杰)

Yeshe Lhadruk (as ‘Nima’) is a herdsman from the Amdo region who had never acted before

being discovered by director Sonthar Gyal when his car broke down near his home.

Lo Kyi (as ‘The Old Man’) lives in Qinghai and had also never acted before being discovered

by directors Sonthar Gyal and Pema Tsedan after which he appeared in both their films ‘Old

Dog’ and ‘The Sun Beaten Path’.

Supporting Actress: Yang Shou Tso (Yang Siucuo 杨秀措)

Yang Shou Tso came from the Amdo region and was the 3rd

Runner Up Contestant in the

national TV talent competition ‘Huaer Duoduo’. She currently works as an actress and singer.

FILMOGRAPHY:

(features only)

2005 The Silent Holy Stone directed by Pema Tsedan as The Daughter

2011 The Sun Beaten Path directed by Sonthar Gyal as Nima’s fiancée

杨秀措，来自安多藏区，《花儿朵朵》选秀节目全国第四名，歌手，艺人。影视作品主要有：电影《静静的嘛呢石》饰演智美更登的小女儿；电影《太阳总在左边》饰演尼玛的女朋友。

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TECHNICAL/CONTACT DETAILS

Technical Details

English Title: “THE SUN BEATEN PATH”

Original Tibetan Title: “ULAM KYI NIMA” aka “YULAM KYI NIMA”

Original Chinese Title: “TAIYANG ZONG ZAI ZUOBIAN”

Country of Origin: People’s Republic of China

Language: Tibetan And Mandarin (Putonghua)

Duration: 89 minutes

Format: HD (RED ONE)

Ratio: 1:1.85

Sound: Stereo 5.1

Color: Color

Year completed: 2011

World Premiere: Hong Kong International Film Festival 2011

(Asian Digital Competition – Special Mention)

Production Company

Beijing Fang Jin Television Media Co. Limited

International Sales/Production Contacts:

Alexandra Sun

The Film Library

Suite 3208, Central Plaza

18 Harbour Road, Wanchai

Hong Kong

Tel: 852-2860 0033

Fax: 852-3007 6700

Mobile: 852-5115 9525

Email: [email protected]

CREDIT BLOCK

LI JINGYANG PRESENTS A BEIJING FANG JIN TELEVISION MEDIA CO.

LIMITED PRODUCTION “THE SUN BEATEN PATH” – YESHE LHADRUK, LO

KYI, KALZANG RINCHEN, LHAKYED MA, YANGSHOU TSO, REKDSEN

DROLMA – SCREENPLAY BY SONTHAR GYAL – DIRECTOR OF PHOTOGRAPHY WANG

MENG – SOUND RECORDIST DUKAR TSERANG – ART DIRECTOR PHAKPA KYAB –

EDITOR SONTHAR GYAL, QIAN LINGLING – COMPOSER DUKAR TSERANG –

GENERAL PRODUCTION SUPERVISOR – XU FENG, REN SHAOJIANG – ARTISTIC

SUPERVISOR – PEMA TSEDAN, LI XING – PRODUCERS LI XING, LU YUANYUAN,

SANGYE – EXECUTIVE PRODUCER LI JINGYANG – DIRECTED BY SONTHAR GYAL

INTERNATIONAL SALES – THE FILM LIBRARY

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SELECTED PRESS COVERAGE

Hong Kong International Film Festival 2011

“Prostrating Pilgrims’ Path Sonthar Gyal’s directorial debut The Sun Beaten Path won a Special Mention at HKIFF’s

Asian Digital Competition. A longtime collaborator of Pema Tsedan, he carved out an

aesthetic at once rustic and exquisite. … the old man in the film, every inch a consummate

actor, is the same old man from Old Dog... .”

– Festival News

“… the helming debut of lenser-turned-director Sonthar Gyal … breathtaking … Handsomely

photographed .”

-Boyd van Hoeij, Variety

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SELECTED FESTIVALS

Hong Kong Intl. Film Festival 2011 Special Mention (Asian Digital Competition)

Documents

The Sun Beaten Path Prelim Press Kit Cannes copywebfiles.pardo.ch/perm/3109/338/OC564743_P3109_151338.pdfScript Consultants 8912 3 Tserang Dondrub(Cailang Dongzhu ': 5 ; ) Sun Liang