One And Four (Tibet, 2021)

 One and Four (2021)

Reviewer: Cesar

Director: Jigme Trinley

Starring: Jinpa, Wang Zheng, Kunde, Darggye Tenzin, Tsemdo

A forest ranger Sanggye (Jinpa) coupling with loneliness and nerve-dulling cold finds his solitude and typically quiet job disrupted by a visitor at his door; an injured man (Wang Zheng) carrying a rifle. Claiming to be an officer in search of a poacher, the man carries the gun typically used by poachers in the area. Despite providing a plausible reason for why he has such a weapon, the shadow of doubt nonetheless stretches long indeed within Sanggye’s mind. With a blizzard on the way, the officer believes the poacher has no choice but to come to the ranger’s cabin to survive and he plans to wait for him to make an appearance. When more characters come into play with their own stories, can Sanggye decipher fact from fiction and find the violent criminal in his midst?

The debut directorial effort by Trinley, whose father is the master Tibetan auteur Pema Tseden who also produces, One and Four utilizes a small cast, mesmerizing photography, and a trembling score by Ding Ke. Trinley also adapts the novel by Jinyang Tsering, crafting a film which is light on dialogue, heavy in atmosphere, and simply engaging.

 Tibet’s biggest film star Jinpa tackles the lead role of Sanggye; a solitary but personally troubled ranger who must discover the truth in this situation thrust upon him. He’s logical, straightforward, and serious about his job,but no detective and his gut reactions aren’t always to be trusted. This also applies to the audience as the performances by the extended cast really get the wheels turning as we attempt to figure it out along with Sanggye. We are introduced to the ‘officer’ with a thrilling and realistic action scene that echoes the desperation and peril that he promises Sanggye will experience should the poacher catch up. 

Throughout it all we never know if his story is truthful, which is anxiety-inducing in no small part, and this is only compounded by the arrivals of new voices and their stories which add to the enigmatic fog. Even Sanggye’s proclivity as an unreliable narrator adds to this.

The film runs at brisk pace, nary giving you time to make a judgment before moving to the next idea. This isn’t a reference to the speed of happenings in the film but the addition of information that can change your judgment at the drop of a hat. Nicely handled, the film delivers wildly tense moments that come to a head in the whirlwind finale. It’s a nicely executed and engaging whodunit that is among the most entertaining films I’ve seen all year. Trinley, and especially Tibetan cinema in general, is definitely on my radar for future watches.

 Highly recommended.