This paper examines the portrayal of Buddhism in two films: Bernardo Bertolucci's Little Buddha (1994) and Werner Herzog's Wheel of Time (2003). It compares how each director approaches Buddhist themes, ritual, and the pursuit of enlightenment, while considering the limitations inherent in representing a complex religious tradition through cinema. The paper argues that both films succeed in introducing Western audiences to Buddhism, yet simultaneously distort the tradition by presenting it as exotic and endangered. Key Buddhist concepts — including reincarnation, meditation, pilgrimage, and the renunciation of material possessions — are analyzed through specific scenes and narrative choices in each film.
It is difficult for a film to engage meaningfully with religion in the present day, with such an undertaking often preventing the movie from achieving broad commercial success. When thinking about religion in cinema, one might assume that no director with mainstream ambitions would want to incorporate the theme into their work. This assumption exists because audiences do not frequently express interest in religious films, and religion has come to be seen as an outdated subject in modern society. Whether or not this perception is accurate, directors who seek wide audiences are understandably cautious. Even when religion is included in a film, directors sometimes add a touch of irony, aware that straightforward drama and religious subject matter can distance a potential audience.
Despite these challenges, some directors have engaged seriously with religious traditions on screen. Buddhism, in particular, has attracted the attention of Western filmmakers drawn to its philosophical depth, visual richness, and spiritual traditions. Two films that take notably different approaches to this subject are Bernardo Bertolucci's Little Buddha (1994) and Werner Herzog's Wheel of Time (2003).
Bernardo Bertolucci's film Little Buddha addresses several important elements of Buddhism alongside broader questions about life. The director managed to incorporate various aspects of the religion into the narrative without overtly distorting the image of Buddhism. The film gathered a noteworthy audience upon its release, aided in part by the presence of well-known Hollywood actors. It would be inaccurate to claim that the movie was intended solely to present religion; it is clear that Bertolucci also aimed at commercial success.
Little Buddha depicts a series of events centered on a group of monks who believe they have found the reincarnation of their master in a young American boy. The script also weaves in the story of Siddhartha Gautama and how he succeeds through a succession of spiritual trials. Despite the fact that the actors do not always deliver particularly impressive performances, the film achieves one of its primary goals: providing audiences with an accessible introduction to Buddhism. The American public, in particular, likely came away with a greater curiosity about Buddhism and Tibetan culture after seeing the film.
The film was distributed widely in the Western world, even though it concerns traditions rooted in Asia. After watching it, many viewers may feel that they have gained some cultural knowledge of Buddhism. However, one cannot truly be educated in Buddhism through a single film, and a misleading impression the movie may leave is that the entirety of Buddhism is synonymous with Tibetan Buddhism. The fact that both the performances and the script fall short of being fully convincing actually allows viewers to pay closer attention to the film's other qualities. While some may find the plot of Little Buddha unremarkable, it does provide a workable framework for exploring the story of the Buddha. The narrative cannot fairly be dismissed as childish, since the authentic story of the Buddha is itself not especially complex in its outward events.
In contrast to Little Buddha, Werner Herzog's documentary Wheel of Time is not primarily intended to become a widely celebrated film. Herzog's goal is simply to convey an important Buddhist event with directness and sincerity. He appears to have set aside concerns about what a general audience expects, and avoids the introduction of clichés that might make the subject feel even more remote to viewers. The people present in Wheel of Time play an important role in the film's overall emotional impact, leaving viewers with the sense that their ordinary lives may be of limited significance compared to the experience of achieving a higher state of meditation.
Similar to how Keanu Reeves's character in Little Buddha is driven to achieve his goal, all the Buddhists depicted in Herzog's film are devoted to the pursuit of enlightenment through intense meditation. Buddhists, as both films illustrate, constantly remind themselves that life is but a small element in a much longer process, and that it passes with great speed.
"Western audiences' fascination with Buddhist monks"
"Both films distort Buddhism while promoting it"
"Siddhartha's journey and the pursuit of illumination"
You’re 55% through this paper. Sign up to read the remaining 3 sections.
Sign Up Now — Instant Access Already a member? Log inAlways verify citation format against your institution’s current style guide requirements.