Issue link: https://digital.copcomm.com/i/356111
art & soul I t would be diffi cult not to be moved by Yoga Maya, Arvind Chittumalla's sincere inquiry into the nature of yoga in con- temporary western culture. He punctuates the end of the fi lm with an emphasis on self-inquiry, and his entire documentary is really about that very thing. Chittumalla interviews 12 people experienced and active in the yoga world—many of whom are more than passing familiar to L.A. audiences—posing heartfelt questions about the way yoga is currently taught, marketed and practiced. The focus is on four mayas, or illusions, that he postulates are commonly held about yoga: That it is asana (postures), that it is religion, that 200 hours are enough to qualify as a teacher, and that it is synonymous with Tantra. Step-by-step Chittumalla interviews various experts in the fi eld—master teachers Daniel Stewart, Arun Deva, Tracee Stanley and Annie Carpenter; kir- tan artist Jai Uttal; Chris Chapple of Loyola Marymount; plus a half-dozen more—and it is especially poignant on the few occasions he doesn't get the response he antici- pates. There is, of course, a good deal of very artic- ulate consensus, but the director's surprise is no- ticeable when, for example, Arun Deva points out that Tantra has always been a sort of parallel path to traditional yoga. Shot in a casual, almost home-movie style, and including a fair bit of footage from Chittumalla's past Moksha festivals, the fi lm also features lovely graphics and a harmonious soundtrack by Jai Uttal, Moose Ali Khan, Sheela Bringi and Dan Blanchard. Yoga Maya is highly recommended for anyone truly interest- ed in the study of yoga today, which would include, Chittumalla estimates, 20 percent of the 20 million people currently practic- ing some form of yoga worldwide. (Yogimilan, LLC) —Abigail Lewis I t's diffi cult to know how to feel after watching Joshua Rofé's disturbing fi lm about teenage murderers convicted to prison for life, and even the fi lmmaker's intention is unclear. While it's true that most of these young killers suffered abuse or trauma in their early lives, the fact remains that each of them took the life of at least one human being. The fi lm begins with two 16 year olds plotting to kill a class- mate. Torey is motivated by the desire to make a Wes Craven Scream-type movie; Brian is feeling isolated in what he later de- scribes as a "subculture for disenfranchised kids" at Colorado's infamous Columbine high school, where he "wanted to be in the spotlight." These two, who actually seemed to have had decent childhoods, go so far as to video themselves planning the mur- der of a lovely young girl. And then do it. When we meet them at age 21, in jail for life without parole, Brian is repentant, stuttering, sincere. Yet Torey seems much the same 16-year-old kid, completely abnegating responsibility. The issue is complex, as illustrated by a powerfully intersplic- esd scene between Josiah Ivy and his sister Amber. Raised in a cult family where it is clear they were abused not just by their parents, but also by random "prophets" staying in their home, Josiah is unable or unwilling to talk about it, even though he's told it might eventually help him win his freedom. While Amber is being interviewed, speaking so sparely that one can barely imagine the horror that must have transpired, the camera cuts back and forth between her visibly devastating memo- ries and Josiah doing frantic, mind-numbing calisthenics in the prison yard. The connec- tion is clear. Should teens be forced to suffer a lifetime for their rash actions? In a touching scene among survivors, one moth- er advocates for a second chance, but it's a controversial question. In theory it's not so diffi - cult to understand that an abused child might want to destroy his abusers (although for one profi led, his disconnection in discuss- ing it is still somewhat chilling), or even to consider clemency for one who seems truly repentant, but it's quite another matter to forgive someone who deliberately kills an innocent. As a mother, I honestly don't know that I could. Ultimately, Rofé does an excellent job of balancing both sides, but there is no easy answer. Those serving time are condemned to life in prison, but those hurt by the damage they caused feel a pain that has no hope of parole. (Available on iTunes from Snag Films) —AL Yoga Maya Directed by Arvind Chittumalla FILM Directed by Joshua Rofé Lost for Life 32 wholelifetimesmagazine.com