Ugyen (Sherab Dorji) lives in the Bhutan's capital city, Thimphu, with his grandmother (Tsheri Zom) while working a government-mandated job as a teacher. He hopes to get a Visa so that he can move to Australia to follow his dream of becoming a musician, but he has one more year left on his job's contract. His superior sends him to teach young kids English in Lunana, a remote village in Bhutan, despite his reluctance to go there.

      Lunana: A Yak in the Classroom takes a conventional, formulaic narrative and turns it into something that's far more than the sum of its parts. There's nothing wrong with formula or predictability, for that matter, because most films follow some kind of formula. It's more important how the film goes about its plot and what emotions it brings out from the audience. Even though you can see the ending coming from a mile away and it has little to no surprises in terms of its plot or what happens to Ugyen along the way, Lunana: A Yak in the Classroom still manages to be a heartfelt story that doesn't try too hard to please the audience. The screenplay by Pawo Choyning Dorji has just enough light touches of humor and subtlety to allow for some small surprises. There are no villains or action sequences or any very dramatic scenes for that matter, nor does the film need those elements. What begins as a physical journey for Ugyen as he treks for 7 days by foot with Michen (Ugyen Norbu Lhendup) and Singye (Tshering Dorj) to Lunana eventually becomes more of a spiritual journey for him, his young students and, in turn, the audience. Dorji keeps his focus on Ugyen's interactions with the villagers and keeps everything understated without any distracting tangents. He shows restraint when it comes to Ugyen's relationship with a yak herder, Saldon (Kelden Lhamo Gurung), which could've easily veered the film into romance, but it doesn't quite go there. Ugyen's long walk to the village doesn't take up too much of the film's running time, so it doesn't overstay its welcome, yet you can still sense how physically challenging it is for Ugyen. Moreover, the film's darker elements remain beneath the surface and are mentioned gently without any heavy-handedness.

      There's probably a darker version of Lunana: A Yak in the Classroom, but then it would've become a completely different kind of film. The filmmaker blends the film's light elements with just the right hint of darker elements while letting the audience use their imagination and intelligence to fill in the gaps. The way that Ugyen gradually learns to appreciate the village's culture, traditions and way of life is fascinating and emotionally resonating. He's both a teacher as well as a student who's learning as much as he is teaching. Kudos to Pawo Choyning Dorji for treating the Ugyen and the other characters, even some of the students, as human beings rather than just pawns to move the plot forward. So, while the plot does follow a conventional formula, you don't feel the wheels of the screenplay turning because it feels so natural. The performances also feel natural without any over-acting. Also, the use of symbolism, i.e. the titular yak in the classroom, is thought-provoking. It's also worth mentioning the breathtaking scenery which adds even more poetry and substance to the film.

      Dorji not only avoids contrivance, but also schmaltz and melodrama. By keeping the film lean and allowing for nuance, he grasps the concept that "less is more." Even the uplifting third act only lasts a few minutes without hitting the audience over the head, although, to be fair, there's a brief flashback with an image that briefly spoon-feeds the audience, but that's only a minor issue that's not systemic. Fortunately, Lunana: A Yak in the Classroom earns its uplift which can't be said about many films these days. It's just as engrossing and crowd-pleasing as some of the great Miramax films from the 80's and 90's, like The Cider House Rules. At a running time of 1 hour and 50 minutes, Lunana: A Yak in the Classroom is captivating, moving and uplifting with just the right balance of humor and heart.