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Presents LOOKING for a LADY with FANGS and a MOUSTACHE Written and Directed by Khyentse Norbu (The Cup, Travellers and Magic

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Presents LOOKING for a LADY with FANGS and a MOUSTACHE Written and Directed by Khyentse Norbu (The Cup, Travellers and Magic Presents LOOKING FOR A LADY WITH FANGS AND A MOUSTACHE Virtual Live Premiere on April 8, 2021 and Worldwide Watch Now @ Home Cinema Release on April 9, 2021 Written and Directed by Khyentse NorBu (The Cup, Travellers and Magicians, Vara: A Blessing) Produced by Max Dipesh Khatri Executive Produced by Olivia Harrison, Zhuangzhuang Tian, Ram Raju, Aona Liu, and Kate McCreery Cinematographer Mark Lee Ping-bing (In the Mood For Love) Starring: Tsering Tashi Gyalthang, Tulku Kunzang, Orgen ToBgyal Rinpoche, Tenzin Kunsel, Tulku Ngawang Tenzin, RaBindra Singh Baniya Official Selection of: Tribeca Film Festival, Osaka Film Festival, and Morelia International Film Festival For More Information, Please Contact: [email protected] | [email protected] Falco Ink. 212-445-7100 Gitesh Pandya [email protected] LOGLINE When a series of visions send a skeptical entrepreneur to seek spiritual advice, an eccentric Buddhist monk predicts his imminent death, unless he can locate an elusive lady with fangs. SYNOPSIS KATHMANDU, NEPAL: TENZIN (30’s, Tibetan, driven by worldly success) is single-mindedly focused on creating Kathmandu’s first “European style” cafe. While hunting for the perfect location, he visits a long- abandoned temple in the center of Kathmandu, snapping photographs of the ancient sacred art. Later that day, during a music lesson with his closest friend JACHUNG (30’s, Tibetan, hopeless romantic, and devoted Buddhist), Tenzin has a strange vision of a young girl in a poppy field, singing a haunting tune. Jolted back to reality, he pushes the image out of his mind -- just a peculiar reaction to stress, he’s sure. Tenzin awakens to another chilling hallucination, this time of his long-dead sister. He confides in Jachung, who insists that Tenzin seek advice from a notorious Buddhist monk oracle, warning “this could be a bad omen.” Tenzin, a committed atheist, balks at Jachung’s alarm, brushing him off as superstitious. Tenzin’s visions increase as he stubbornly forges ahead with his cafe plans, finally finding a location in a trendy area of Kathmandu. Convinced his luck has changed, he throws a party to celebrate. When Jachung arrives with the MONK ORACLE (20’s, addicted to his iPad, always in sunglasses) in tow, Tenzin reluctantly agrees to a private audience and relays a detailed account of his visions. The monk makes a terrifying prediction -- Tenzin’s visions are a sign that his “life force” is running out, and death is imminent. Unconvinced by the monk’s diagnosis he visits a doctor but is disappointed to discover there is no medical explanation for his visions. Throughout it all, Tenzin tries his best to carry on with day-to-day life. KUNSEL (20’s, a gifted musician and Jachung’s crush) tutors Tenzin and Jachung as they prepare for a performance of the Dramyin (the traditional Himalayan lute beloved by Tenzin’s mother) and development begins at his new cafe. But Tenzin’s visions become more and more frightening. With mystical and magical experiences invading his life, his carefully constructed reality begins to unravel. In desperation, Tenzin visits the monk again, this time prepared to take his advice seriously. Now the prediction is even more alarming: Tenzin has been cursed, and will certainly die in seven days unless he can find a “dakini” (a mysterious living being -- the embodiment of Buddhist teachings on “feminine energy”). The monk sends Tenzin to a BUDDHIST MASTER (60’s, master of the “Left-Hand Lineage” -- a grumpy, enlightened sage) who gives specific instructions: When he finds a woman with fangs, a moustache, and perhaps a third eye, he must offer her a gift, of food, tools, shells, or a single shoe. Ideally, if she is a dakini, she will offer him a gift in return but if not, he is instructed to steal something from her. Finally, in order to confirm his discovery, the master gives Tenzin a highly guarded and secret “mudra” (a sacred hand gesture). If the fanged woman is truly a dakini she will understand the mudra and reveal herself. But there is a catch -- Tenzin can only safely perform the mudra three times. Tenzin retreats from everything once important to him -- the coffee shop, his business partners, and friends, trolling the Kathmandu streets searching for a dakini. Day after day Tenzin fails and returns to the master for further teachings and advice. On the sixth and final day of his life, a hopeless Tenzin travels to the country to bid farewell to his mother, and on his way back he runs into Kunsel. Viewed in a new light, is it possible that Kunsel, who had been so close this entire time, is the dakini? Finally, suspending all disbelief, he performs the secret mudra for Kunsel but to his dismay, she looks at him in confusion and rushes away. Tenzin continues to wander the streets until he spots another potential dakini in a crowded market. Desperate to save himself in his final hours, he steals the woman’s purse and runs off into the night. Uncertain whether his actions have saved him, he awaits the new day, terrified. The sun rises on the seventh day, illuminating Tenzin, still alive. Joyous, and with a renewed appreciation for life, he rushes to Jachung’s house and together they find Kunsel to share the good news. As they greet each other, Kunsel shocks Tenzin by performing the secret mudra. Is Kunsel truly a dakini who saved Tenzin’s life, or was it all an elaborate ruse to force Tenzin into embracing his mystical and religious heritage? Either way, his near-death experience has transformed him forever, from a rational businessman with his head down, to a spiritual seeker with an open heart. DIRECTOR’S STATEMENT In this modern, scientific world – a world on the verge of creating artificial intelligence, and a world that disparages anything not amenable to reason – I try in this film to explore some of the last genuine residues of Tibetan mysticism. Even among Tibetans themselves, their traditional beliefs and ways of behaving and looking at the world are increasingly rare and today carry little if any weight. And yet, I believe this ancient wisdom, which reflects the Buddhist view of reality, has something vital to offer our modern world. Especially, I intend this film to express the deep respect for feminine energy embodied in that wisdom, and to portray in a contemporary setting both the transformative power of this energy and some of the ways it has traditionally been evoked. Because it brings together so dramatically these modern and ancient worlds, I felt Nepal to be an ideal setting for this film. Besides the mountains and trekking for which it is popularly known, Nepal is a very spiritual and magical place, and I want to capture that quality both through the eyes of local inhabitants and in the way the film is shot. For example, I will give the audience plenty of time for contemplation, so images may not move fast and may even stand still for a period. As well, I want to catch the magical qualities of life through the eyes of a character who is really panicked, which we’ll do by using hand-held cameras. It’s precisely because this film will evoke contemplation that I wanted to work with the Director of Photography Mark Lee Ping Bing. I have always had the highest respect for his sensitivity, contemplative style, and amazing capacity to capture images.. I used only non-professional actors, not only because – unlike in the west – there are few trained actors in Nepal, but also because the characters I am trying to portray have to be really genuine. For example, one of the characters is portrayed by an actual highly respected spiritual master whose qualities and demeanor a hundred thousand trained actors could not fathom let alone convey. Sadly, these days, we see everything from fashion and consumer goods to storytelling, books and films increasingly produced according to set formulae that are proven to “sell the product.” Though few films today escape the enormous influence of the Hollywood and Bollywood formulae, I want to explore in this film a distinctive Himalayan way of expression and storytelling that is true to this region’s culture, tradition and wisdom. In such ways, and through its atmosphere and techniques, I hope this film will transport audiences to a profound, mystical, and yet very real and accessible dimension of life with which our modern world is sadly and rapidly losing touch. - Khyentse NorBu FILMMAKER BIOS KHYENTSE NORBU | Director Born in 1961 in Bhutan, Khyentse Norbu has written and directed several award-winning feature films, receiving accolades and honors at numerous prestigious international film festivals. His first film The Cup (1999) became an international sensation after its premiere screening at the Cannes Film Festival’s prestigious Director’s Fortnight. It went on to win critical acclaim and official selections at major festivals worldwide, including Sundance, Hong Kong, London and Moscow. It won awards at four international festivals, including an International Federation of Film Critics (FIPRESCI) award at Busan and an audience award at the Toronto International Film Festival. Norbu’s second film, Travellers & Magicians (2003), was the first full-length feature film shot in the Himalayan Kingdom of Bhutan. It premiered at the Venice International Film Festival and went on to the Toronto, Busan, Golden Horse (Taipei), Sao Paulo, London, Sydney, Moscow and other international film festivals, winning three awards. His third feature film Vara: A Blessing (2013), based on a short story by Bengali author Sunil Gangopadhyay and filmed in Sri Lanka, attracted top international collaborators including award-winning cinematographer Bradford Young and acclaimed editor William Chang and starred Indian ingenue, Shahana Goswami.
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