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RAI FILM
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About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
Menu
About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
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Films
found one film
with a digital version available
x
Region
“South Asia”
x
Country
“Sri Lanka”
x
Directors
“Nairn, Charlie”
x
Year of production
“1973”
x
films with a digital version
1
x
Region
South Asia
1
x
Country
Sri Lanka
1
x
Keywords
Possession
1
Religion / Belief / Faith
1
Ritual
1
Directors
Nairn, Charlie
1
x
Series
Disappearing World Series
1
Country of production
United Kingdom
1
Year of production
1973
1
x
Film
Kataragama: A God for All Seasons
1973
52
‘
Directed by
Charlie Nairn
.
In ever-increasing numbers Sinhalese of all religions (Muslims, Christians and Buddhists) are turning to Kataragama, an ancient Hindu God, at times of trouble and desperation. Once a year pilgrims make the journey to Kataragama’s shrine in southeast Sri Lanka (Ceylon) to fulfil vows by performing acts of penance and worship in payment for a favour received. Kataragama is called on to help with a wide range of problems (unemployment, sickness, examinations, personal relationships) and is appealed to by people of all social backgrounds, notably the growing middle class and urban dwellers. A good third of the film is concerned with the annual festival, showing the often gruesome and sensational acts which the pilgrims perform including fire-walking, and the piercing of body and tongue with needles – all acts designed to obtain forgiveness and grace. One man is suspended from hooks in his back – a self-torture undertaken with apparent joy by a man who, like many others that perform such acts, feels himself (after a time) to be possessed by the God’s spirit. These rather sensational acts are interwoven with the story of a peasant family whose son has disappeared, leading them eventually to seek help from Kataragama. The unfolding of this personal drama (with reconstruction of early episodes, and voice-over to detail their thoughts and feelings) forms the context for the events we see at the festival. The effect of the interweaving of these two ‘stories’ is to place the otherwise purely exotic spectacle of the pilgrims’ acts of penance within a universally understandable social context – that of the despair of a family whose young son is lost. The unplanned return of the boy, apparently in response to the family’s appeal to Kataragama, provides a dramatic and moving finale to a film which has been compared in some respects to the great Italian neo-realist films. Clearly this film is an important one both for anthropologists and those concerned with ethnographic film per se. R. Gombrich, 1974. Review of the film. RAIN, 3, pp.8–9. G. Obeyesekere, 1977. `Social Change and the Deities: Rise of the Kataragama Cult in Modern Sri Lanka’. Man, Vol. 12, Nos.3/4. pp.377–396.
South Asia
Religion / Belief / Faith
Ritual
Possession