Submitted by Mongolia: Silent City Driver

This is about as gritty and noir as Buddhist cinema gets. There is plenty of bad karma, but little enlightenment in Ulaanbaatar, at least as far as ex-con Myagmar sees. He is not exactly a people person, so his work as a hearse driver isn’t such a bad fit. However, the rest of society is still a problem for him in Janchivdorj Sengedorj’s Silent City Driver, which Mongolia officially submitted for best international feature Oscar consideration.

The circumstances are never entirely explained, but Myagmar served several years in prison for murder. His release might be related to health issues often requiring transfusions. Unfortunately, his emotional condition is far worse. Until the funeral home hires him, Myagmar only interacts with the stay dogs he adopted. However, thanks to his work, he starts to almost befriend Sodoo, a young Buddhist monk (recently returned from Tibet), who often rides shotgun in Myagmar’s hearse.

Myagmar also develops a fascination with Saruul, the wild and worldly daughter of the funeral home’s blind coffin carver. She initially assumes it is a case of sexual obsession, but the audience will doubt whether Myagmar can still relate to women in such a way. Regardless, through his asexual stalking, Myagmar figures out Saruul has fallen victim to underworld elements that target young women like her.

In some ways, Sengedorj’s narrative (co-written with Nomuunzul Turmunkh) could play out in any major world city. However, the Buddhists themes that emerge through Myagmar’s conversations with Sodoo give the bracing conclusion even more bite. Calling the film a “slow builder” might overstate Sengedorj’s pacing, but the payoff is brutally powerful. Everything aspect of the film is very deliberately intentional.

Indeed, this is not a film you can just shake off and forget. Consequently, if Academy members take the bother of screening it, Silent City Driver could emerge as a surprise contender, even though it really isn’t currently on the awards radar. Frankly, this is also a good year for dark horses, because there are not as many heavy favorites, like (hopefully) Jafar Panahi’s It was Just an Accident (which deserves not just a nomination, but an Oscar victory).

Regardless, its quiet power should impress and disturb even jaded film snobs. The performances of Tuvshinbayar Amartuvshin, Narantsetseg Ganbaatar, and Munkhbat Bar-Erdene as Myagar, Saruul, and Sodoo are also all uncompromisingly honest and believably raw. The trio are never showy or self-conscious, but that is consistent with the film’s dark naturalism.

Frankly, this is exactly the sort of film that should benefit from second looks, as a result of its Oscar submission.  It is the underdog you aren’t hearing about, but ought to. Highly recommended, Academy voters should checkout Silent City Driver before the international shortlist is announced on 12/16.