Buddhism in "Little Buddha" and "Wheel of Time" Films
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.
- Introduction: Religion and Cinema: Religion's uneasy relationship with modern filmmaking
- Bertolucci's Little Buddha: Hollywood Meets Buddhism: Little Buddha's blend of entertainment and Buddhist themes
- Herzog's Wheel of Time: Documentary Authenticity: Herzog's unadorned depiction of a Buddhist ritual event
- Buddhism Through an Outsider's Lens: Western audiences' fascination with Buddhist monks
- Promoting and Harming Buddhism Simultaneously: Both films distort Buddhism while promoting it
- Enlightenment as the Central Theme: Siddhartha's journey and the pursuit of illumination
✍️ How to write this paper — guide, tools & examples ▾
What makes this paper effective
- It establishes a clear comparative framework from the outset, setting up Little Buddha and Wheel of Time as contrasting approaches to the same subject matter.
- It balances praise and critique, acknowledging both films' success in promoting Buddhism while also identifying the ways they misrepresent or simplify the tradition.
- It grounds abstract religious concepts — such as enlightenment and the renunciation of material wealth — in specific cinematic examples, including the sand painting scene and Siddhartha's journey.
Key academic technique demonstrated
The paper demonstrates comparative textual analysis applied to film. Rather than reviewing each movie in isolation, the author consistently places the two works in dialogue, using similarities and contrasts to build a unified argument about how Western cinema frames Buddhism for non-Buddhist audiences. This technique strengthens the paper's thesis by showing patterns across two distinct directorial visions.
Structure breakdown
The paper opens with a broad claim about religion's place in modern cinema, then narrows to introduce both films and their directors. It proceeds through a series of thematic paragraphs — covering reincarnation, audience perception, insider versus outsider perspectives, and enlightenment — before concluding with a close reading of the sand-painting scene as a metaphor for the Buddhist view of life's impermanence. The structure is loosely thematic rather than strictly film-by-film, which reinforces the comparative argument.
Introduction: Religion and Cinema
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).
Works Cited
Little Buddha. Directed by Bernardo Bertolucci, Miramax Films, 1994.
Wheels of Time. Directed by Werner Herzog, 2003.
Create your account
Always verify citation format against your institution’s current style guide requirements.