A Symphony of Faith: Verso Benares and the Interplay of Hinduism and Western Christianity
In the realm of international cinema, the Italian documentary Verso Benares, released in 2022 and directed by Giorgio Prata and Gianni G. Prata, presents a unique and captivating exploration of faith. While the film does not feature a narrative or an explicit comparison of faiths, its creation by Western filmmakers and its immersive focus on Hinduism invite a powerful, implicit dialogue with Western Christianity. This analysis will delve into the film’s subtle portrayal of these two traditions, ultimately positioning Verso Benares as a significant contribution to the global cinematic discourse on spirituality.
The film’s exploration of Hinduism is a direct and unfiltered visual experience. It avoids dialogue or narration, instead using its camera to capture the raw, lived reality of the sacred city of Varanasi. The viewer is presented with a tapestry of daily rituals on the Ganges’ ghats, the solemnity of cremation rites, and the spiritual intensity of ascetics (sadhus). The Hinduism depicted is not a set of abstract beliefs but a tangible, communal, and often public practice deeply integrated into every aspect of life and death. The silent gaze of the filmmakers allows the audience to witness this faith in its purest form, unburdened by external commentary.
The implicit comparison with Western Christianity arises from the very nature of the film’s creation and reception. The Italian filmmakers, coming from a culture with a deep-rooted Christian heritage, capture a spiritual world that is profoundly “other.” The rituals of death and spiritual cleansing on the Ganges, for example, stand in stark contrast to the more private and institutionalized death rites common in the West. This contrast is not forced by the film’s creators; rather, it is a natural conclusion drawn by the viewer, whose own spiritual or cultural background serves as a silent point of reference. The film’s true power lies in its ability to make the viewer’s own faith tradition, or lack thereof, an active participant in the cinematic experience.
This approach resonates with a specific lineage within global cinema that explores Indian spirituality from an outsider’s perspective. For instance, films like Water (2005) by Deepa Mehta, though a dramatic narrative, similarly examine the social and spiritual fabric of Hinduism in a manner that invites cross-cultural reflection. Set in Varanasi in 1938, the film portrays the harsh realities faced by Hindu widows, using the sacred city as a backdrop to question and critique certain traditions. While Verso Benares is more meditative and less critical, both films use their respective media to bridge the gap between East and West, revealing both the beauty and complexity of Hindu spiritual life.
In conclusion, Verso Benares is not a superficial comparison of faiths but a profound cinematic meditation. By eschewing narrative in favor of pure observation, the film offers a rare and authentic glimpse into the spiritual heart of Hinduism. Its true contribution is its ability to foster an internal dialogue within the viewer, where a silent contemplation of a foreign faith naturally leads to a deeper understanding of their own. It is through this silent interplay that the film creates a “symphony of faith”—a harmony born not from explicit comparison, but from a shared human quest for meaning and spiritual grace.