Faith and Its Contradictions in “9 Temples to Heaven”

In the contemporary world, faith and spirituality intertwine with the profane and commercial aspects of daily life. Despite this, the search for understanding the purpose of our existence remains as captivating and challenging as ever. The recent screening of Sompot Chidgasornpongse’s 9 Temples to Heaven at the New York Film Festival offers a thoughtful exploration of these contradictions.

The film follows a Thai family, led by the middle-aged Sakol (played by Surachai Ningsanond), on a journey to visit and build nine Buddhist temples. Their goal is to make material offerings and prayers, with the hope of extending the life of Sakol’s elderly mother, Sakuay (Amara Ramnarong). The trip is triggered by a premonition from Sakol’s employer, who has a history of prescient visions, suggesting that finishing these visits within a single day maximizes blessings.

Chidgasornpongse, debuting in narrative filmmaking, demonstrates a talent for patient observation. His previous work includes the documentary Railway Sleepers and assisting director Apichatpong Weerasethakul. The film employs long takes and wide angles, often focusing on the architectural contrasts found in and around Bangkok. This methodical approach catalogues the functioning of Buddhism in Thailand amidst capitalism, patriarchy, and other everyday challenges.

The opening scene sets the tone for the narrative, featuring a small, golden altar bathed in candlelight within a dark room. As more lights illuminate, the altar is revealed to be part of a larger golden structure adorned with radiant statues, situated within a temple. Outside, workers prepare for a funeral by setting up chairs and practicing the pronunciation of Sakuay’s name on a speaker.