We are now moving through a very bleak period in human history - where the convergence of postmodernist cynicism (eliminating humanistic and critical thinking from the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalisation, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where ethics, morality, human collectivity, and commitment (except to opportunism) are considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.

We are now moving through a very bleak period in human history - where the convergence of postmodernist cynicism (eliminating humanistic and critical thinking from the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalisation, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where ethics, morality, human collectivity, and commitment (except to opportunism) are considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.

We are now moving through a very bleak period in human history - where the convergence of postmodernist cynicism (eliminating humanistic and critical thinking from the education system), sheer greed engendered by the consumer society sweeping many people under its wing, human, economic and environmental catastrophe in the form of globalisation, massively increased suffering and exploitation of the people of the so-called Third World, as well as the mind-numbing conformity and standardization caused by the systematic audiovisualization of the planet have synergistically created a world where ethics, morality, human collectivity, and commitment (except to opportunism) are considered old fashioned. Where excess and economic exploitation have become the norm - to be taught even to children. In such a world as this, what happened in Paris in the spring of 1871 represented (and still represents) the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia - which WE now need as desperately as dying people need plasma. The notion of a film showing this commitment was thus born.

The Mahabharata is one of the world’s greatest books. It is also the longest poem written. It was written in Sanskrit, and is about fifteen times the length of the Bible. “Maha” in Sanskrit means “great” or “complete”, “Bharata” is primarily the name of a legendary character, and then that of a family or clan. So the title can be understood as “The Great history of the Bharatas”. However in an extended meaning “Bharata” can mean “Hindu”, and, even more generally “Man”. So the Mahabharata could be translated as “The Great history of Mankind”. According to most scholars, the events recounted in The Mahabharata probably have a historical source. Others maintain that the correct interpretation of the poem lies entirely in the direction of myth. Yet others point out the importance of the teaching books in the epic - political, social, moral and religious - and see The Mahabharata as a long treatise of government initiation. “As far as we were concerned, this immense poem, which flows with the majesty of a great river, carries an inexhaustible richness which defies all structural, thematic, historic or psychological analysis. Doors are constantly opening which lead to other doors. It is impossible to hold the Mahabharata in the palm of your hand. Layers of subtext, sometimes contradictory, follow upon one another and are interwoven without losing the central theme. The theme is a threat: we live in a time of destruction - everything points in the same direction. Can this destruction be avoided?” Jean-Claude Carrière. In our interview with Carrière, he pointed out what he thinks is the core of the Mahabarata: it is a poem on oblivion. Mankind seems to constantly forget the source of their truly nature. Indian tradition says: “Everything in the Mahabharata is elsewhere. What it is not there is nowhere”.

The Mahabharata is one of the world’s greatest books. It is also the longest poem ever written. It was written in Sanskrit, and is about fifteen times the length of the Bible. “Maha” in Sanskrit means “great” or “complete”, “Bharata” is primarily the name of a legendary character, then that of a family or clan. So the title can be understood as “The Great history of the Bharatas”. However in a extended meaning “Bharata” can mean “Hindu”, and, even more generally “Man”. So the Mahabharata could be translated as “The Great history of Mankind”. According to most scholars, the events recounted in The Mahabharata probably have a historical source. Others maintain that the correct interpretation of the poem lies entirely in the direction of myth. Yet others point out the importance of the teaching books in the epic - political, social, moral and religious - and see The Mahabharata as a long treatise of government initiation “As far as we were concerned, this immense poem, which flows with the majesty of a great river, carries an inexhaustible richness which defies all structural, thematic, historic and psychological analysis. Doors are constantly opening which lead to other doors. It is impossible to hold the Mahabharata in the palm of your hand. Layers of subtext, sometimes contradictory, follow upon one another and are interwoven without losing the central theme. The theme is a threat: we live in a time of destruction - everything points in the same direction. Can this destruction be avoided?” Jean-Claude Carrière In our interview with Carrière, he talked about what he sees as the core of the Mahabharata: it is a poem on oblivion. Mankind seems to constantly forget the source of its true nature. Indian tradition says: “Everything in the Mahabharata is elsewhere. What it is not there is nowhere”. Part one, "The Game of Dice", shows us a growing confrontation between two sides battling for power. One side is clearly closer to the idea of dharma than the other, which barely bothers to respect it. To avoid direct hostilities, they decide to play a game of dice; but the game is rigged. Playing with power is a rigged game.

After the reflections from the Bhagavad Gita, the war begins: a tragedy that pits brother against brother and sucks up whole families, people of great courage. It is a war of devastating consequences, which does not just threaten the survival of one of the two sides, but the continuity of life on earth. “Even the blades of grass tremble in fear.” A battle in which the clashing sides do not hesitate to use the ultimate weapons. Vishnu himself exclaims: “Now I am become Death, the destroyer of worlds.” This is a war that is also played out inside every human being.

Having been tricked by Power and humiliated by the arrogance of those who now wield it, the Pandavas are forced into exile even though they still harbor a desire for justice. They face twelve years of banishment in the wilderness, and a further year during which they must live in disguise and avoid being discovered. The Mahabharata, portrays this exile as a period of extreme hardship in which death is always present – but so is the growing awareness of its opposite. To abandon the palace and swap the city for nature also leads them to renew direct contact with life, embark on a search for knowledge, start a process of cleansing and strengthen the bond of brotherhood. Nevertheless, this strengthening seems to lead back towards war. Part two ends with the famous reflections of the Baghavad Gita in which Krishna responds to the doubts of Arjuna.