This is afilm about the constant sense of being slightly out of step with where you are standing, rendered with remarkable restraint.State of Statelessness is an anthology comprisingfour tales by the Drung Collective, agroup of filmmakers working within the Tibetan diaspora.Each story is shaped by the same unresolved grief – for adistant land occupied and unreachable, for identities fractured by borders. Though the film travels across continents, its accounts are bound by ashared longing for aland lost not to time, but to erasure.
Tsering Tashi Gyalthang’sWhere the River Endsfollows Pema, ayoung girl living in Vietnam with her Tibetan father, Tenzin. As he explains that the Mekong River begins in his homeland,asimple geography lesson becomes afragile bridge between origin and inheritance. Sonam Tseten’sBardo: In-Between reunites sisters Yangchen and Bhuti for the cremation of their mother in Tibet, only to reveal how years of separation have created rifts that grief alone cannot heal. The film’s greatest strength emerges in its attention to the most intimate traces of displacement – family rituals, the making and sharing of food, and places that offer shelter without ever truly becoming home.
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The final stories unfold in Dharamshala, aTibetan settlement in India and home to the Drung Collective. Tenzing Sonam and Ritu Sarin’sLittle Cloudfinds adisillusioned couple in the wake of their child’s death. Sonam prepares for avisit from his friend Jigdal, now living in America, while his wife Kesang regards the reunion with quiet unease. It is asharp critique of the reverence often afforded to returnees by virtue of having emigrated. In Tenzin Tsetan Choklay’sAt The End, The Rain Stops, ayoung man named Tenzin returns to sort through his late father’s belongings. Supported by afriend of his mother’s and her son Norbu, Tenzin’s return evokes the grief of alost home, culture and identity – acounterpoint to the fantasy of departure inLittle Cloud.
State of Statelessness excels in depicting exile not only as movement across borders, but as something lived from within them. The result is remarkably cohesive for acollection made by five different filmmakers. Each short film is unified by asubtle, patient beauty that favours natural light and unhurried compositions. Tibetan ritual music is woven throughout, grounding every story in ashared cultural and spiritual register. The performances are restrained, amodesty that allows these realities to feel lived rather than staged.
Moving between Tibetan, Vietnamese, Hindi and English, the film reflects lives shaped across languages and cultures. Statelessness is not defined in legal or political terms but rather as aliminal state of being – something that shapes everyday life without ever needing to be named. The film’s most devastating moment arrives in asimple exchange, when Tenzin asks Norbu, “Is someone who’s stateless like me allowed to dream?” The question is posed to us and left deliberately unanswered, its uncertainty mirroring the unresolved futures the film observes.
In aworld where migration is often politicised as spectacle or statistic,State of Statelessness succeeds by insisting on something more understated. It’s asincere and quietly moving film, if not one that lingers or astonishes. What it offers instead is careful attention to the ways exile is lived, inherited and endured, and to the strategies required to build alife within its constraints.