“When I think about myself, I say, ‘But I didn’t want to the son of a master.’ That’s the high Tibetan Buddhist Master, Chögyal Namkhai Norbu, and his son is Yeshi Silvano Namkhai, born and raised in Italy by his father and Catholic mother. “As long as I remember,” Yeshi says in My Reincarnation, “my father was always traveling to teach Dzogchen.” Resisting the expectations that come along with being recognized at birth as the reincarnation of a famous spiritual master, Yeshi spends years finding other outlets for his energies, with Jennifer Fox’s camera in tow for nearly 20 years. Yeshi seems open about his doubts: “A person who doesn’t want to be what he is. And he ought to be something that he doesn’t like to be. Obviously for my father, I’m not a mistake. Because for him it’s right, for me it’s wrong.” His questions multiply as he grows older, marries and has his own children, and finds a “stable” career with IBM. Perhaps unsurprisingly, has job has him on the road frequently, and as he drives, he talks to the camera: “I live in a very common Italian way,” he says, “I’m happy to be a normal, common father.”
And yet he’s also restless. As Norbu’s fame expands, the film shows him with students in search of peace and wisdom: he offers cryptic comfort: “It’s how Buddha said,” he tells a young man in tears over his HIV positive status. “Everything is unreal, like a big dream. That is something real.” But as you come to understand Yeshi’s frustrations with his absent, much-adored dad, the film also suggests he’s leaning away from his secular life, thinking more about his father’s legacy. With sections divided by underwater scenes, making visible Yeshi’s own wondering at how his hesitation is turning into something like certainty. If the film can’t show his changing feelings, or even his decision to perform such changes, it can suggest how he fears and how he takes risks, even how he comes to appreciate the paradoxes of time, how his past can become his future, his memories his visions. And in these suggestions, the film might emulate Yeshi’s own process.
We all know how critical it is to keep independent voices alive and strong online. Please consider a donation to support our work as an independent publisher devoted to the arts and humanities. Your donation will help PopMatters stay viable through these changing and challenging times where advertising no longer covers our costs. We need your help to keep PopMatters publishing. Thank you.