How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

A clunky actioner with a handful of cool moments.

This movie feels like it was made purely to piss off people who want good shows

The director of The Story Of The Weeping Camel takes a different look at life in the Mongolian wilderness, having previously followed a family of nomadic shepherds and their camels to award-winning success.Whether or not you've seen Weeping Camel, this story stands proudly as a parable of life's possibilities and limitations, and how we must all come to terms with them – wherever we live. Yes, the plot is fictional but the family – and their environment – is real. Nansal's natural performance is particularly impressive at such a young age – her resourcefulness and charm bestow an irresistible screen presence. And, for their part, the parents contribute a nicely judged supporting role, revealing just what it takes to bring up a family in the wilderness. And the dog? Oh, yes, he's cute. You can see why Nansal wants to keep him.A delightful, fascinating and thoughtful docu-drama that will stay with you long after those dramatic mountain scenes have faded from view. CS

Simply put, THE CAVE OF THE YELLOW DOG is a beautifully made movie by Byamsuren Davaa. Unlike her previous film, THE STORY OF THE WEEPING CAMEL, which was also a very good movie, THE CAVE OF THE YELLOW DOG is polished and professional. And, most importantly, it tells a story in a compact and focused manner. It is a tale of a bucolic nomadic lifestyle in Mongolia during a time of change. This idyllic live is challenged by neighbors moving to cities, windmill power, plastic bowls, a motorcycle, photographs, and other trappings of the industrial world. They are confronted by the borders of modern nations which have little tolerance for nomads who cross borders where once there were none. They are even prompted to vote by an impersonal loudspeaker mounted on a speeding jeep. The irony is that nation building is a constant threat to nomads around the globe. The family is well aware of the benefits of civilization. Their oldest daughter goes to school, and their youngest daughter would like to live in the city because "People can pee inside their houses there." Byamsuren Davaa says that one purpose of the film is to present a way of life on film. She certainly does this, and in a rather objective manner, mostly because industrial film making does not fit the agrarian schedule of daily reincarnation. Best line from the film: "You're not supposed to play with Buddha." The Left Elbow Index considers seven variables in film--acting, production sets, artistry, plot, film continuity, dialogue, and character development--on a scale of 10 for very good, 5 for average, and 1 for needs help. The artistry, plot, and film continuity are above average, with good use of color, scenes balancing nature, and change over time, and the seamless use of animals. Dried dung, sheep, and survival skills are part and parcel of agrarian wealth--are are so presented. Lighting and camera angles are excellent. Acting is average (the family is a real family, not professionals), as are the production sets, most of which are exterior. The dialogue is functional, keeping in mind that the wind and the music are part of the dialogue. Character development is not a factor, except that the audience gets to know each character better as the film progresses. The characters, however, do not change. The LEI average rating for this film is 7.14, raised to 9.0 when equated with the IMDb scale. While watching THE STORY OF THE WEEPING CAMEL, one wonders how things would work out for the the little camel, one is not part of the action. However, with THE CAVE OF THE YELLOW DOG, Byambasuren Daava seduces one into wanting to be more than a dispassionate observer. Perhaps an old poem by Ogden Nash explains: "In Tibet there lives a llama/Has no papa, had no mama/ Has no wife and had not chillen'/ Has not use for penicillin/If you watch the Philco, mama/ I think I'll go and join that llama." I don't think I want to go to Tibet, but Mongolia would sure be a nice change. I highly recommend this film.

Through the lens of a native from Mongolia and the mindful hearts of the people in the story, one is transfixed by the dignity of the this world. As an American, I have never experienced such simple artistry in a film. The children are extraordinary in their candid roles. The natural family dynamics work so much better than most theatrics. It took tremendous courage to follow real people in their daily lives in order to create a story; proving that plot and special effects often get in the way of artistic subtleties.This is a film treasure because it captures the heart in an effort to open a window to a fading way of sustainable life.

Following The Story of the Weeping Camel, this is another instalment or chapter documenting a nomadic culture gradually disappearing in Mongolia. By telling the story from a child's perspective, it is very observational, and captures little details that may seem passé to those within the culture, but fascinating to others.The cinematography and music are both quietly beautiful, creating a nice atmosphere. There is much warmth in the depiction of family life. The film skilfully avoids sentimentality. Like the just-released Offside, the characters are all non-professionals, adding authenticity.For what it's worth, my five year old son loved it and gave it 10/10 stars.