Watching *Snow Leopard* as an Eco-Farmer: Who Should I Empathise With?

● Poster for the film *Snow Leopard*.

I. Who Truly Cares About the Snow Leopard?

Pema Tseden’s posthumous film *Snow Leopard*, winner of Best Film at the Tokyo International Film Festival, tells a remarkably straightforward tale: on the high, snow-swept plateau, a herding family loses nine sheep after a snow leopard attacks their livestock pen. This incident sparks conflict and entanglement among four distinct groups. The herders are those left bearing the loss. The eldest son, Jinba, traps the “culprit” snow leopard inside the pen, guards it closely, and insists on waiting for government compensation before letting it go. The younger son, a young “snow leopard lama”, feels profound compassion for the animal. Having survived two life-threatening encounters with this “involved” snow leopard, he has formed a deep bond with it. A devout follower of Tibetan Buddhism, he urges his elder brother to release the snow leopard unconditionally. Local journalists who rush to the scene seem indifferent to whether the snow leopard will be freed or the herders compensated; they simply want to capture compelling footage. Even as the herders stand at a loss, the journalists cheerfully celebrate a colleague’s birthday, illustrating the adage that human joys and sorrows do not intersect.

The grassroots officials and police officers dispatched to handle the situation merely urge the herders to release the snow leopard promptly, while glossing over the issue of compensation with vague, noncommittal remarks. Their overriding fear is that if anything were to happen to this first-class nationally protected animal, no one would be able to shoulder the responsibility.

● Still from the film Snow Leopard.
Grassroots officials demand the snow leopard be released first, while herders insist on compensation beforehand, leaving the matter deadlocked. Among the various characters, only two make moves to break the impasse. One is the “Snow Leopard Lama,” who offers to sell his camera—used for filming the leopards—to cover his brother’s losses, only to have the proposal refused. The other is the family patriarch, who steps forward with savings he has hoarded for years to fund a pilgrimage to Lhasa, hoping to settle the dispute.

II. A Film That Captures Only the Tip of the Iceberg

People raise sheep for a living, snow leopards kill them to survive; both are doing what is right within their own worlds, yet this very fact has turned them into enemies. The film Snow Leopard does not delve deeply into why the leopards attack herders’ livestock, focusing instead on the conflict itself. The reason the leopard remains captive appears to be his brother Jinba’s stubbornness: if only he would drop his insistence on compensation and let the animal go, everyone could return to peace with a happy ending. Yet we cannot simply lay the blame on the victim. This herder is not merely inflexible; he admits that if only one or two sheep had been killed, he would have shrugged it off, treating the loss as an offering to the mountain spirits. But nine sheep are gone. For herders already struggling to make ends meet, this is undoubtedly a devastating blow. He also believes the root of the problem lies in the confiscation of his rifle, which has left the leopards unchecked and growing increasingly brazen. But is the frequent predation on livestock truly just because herders no longer have guns to deter them? The primary reason wildlife destroy crops and attack livestock is likely the shrinking of their habitat or a direct threat to their survival. Whether it is human overdevelopment fragmenting wildlife habitats, or global warming pushing the treeline upwards, these are factors that cannot be ignored.

III. Who Is Really Encroaching on Whose Life?

The plot in the film brings to mind the nationwide sensation of 2021: the northward migration of wild elephants in Yunnan. A herd of Asian elephants set off from their original habitat in the Xishuangbanna Nature Reserve, journeying north to Kunming, some 500 kilometres away, before finally returning home under the guidance of relevant authorities. Short-range elephant migrations are nothing new, but this particular journey went far beyond typical migratory behaviour and did not follow a set route. Consequently, scientists concluded it was not a migration at all, but rather a search for a new home. In fact, thanks to conservation efforts by both the government and civil society, China’s wild elephant population has grown from 193 in the 1990s to around 300 today. A growing population demands more space. Yet urbanisation and increased human activity have further fragmented, degraded, and reduced their habitats. Restoring or expanding wildlife habitats is, however, an arduous and long-term undertaking. With environmental challenges intensifying and the film’s theme of human–wildlife conflict playing out repeatedly in reality, how we can coexist harmoniously with wildlife is a question that demands serious reflection.

IV. As a Smallholder, Whom Do I Empathise With?

Had I watched this film a few years ago, when I was still working in the city, perhaps what would have moved me most was the young lama’s profound compassion. Now, as a farmer, I find myself naturally drawn to empathise with the herders. Over the past year of practising ecological farming, I have come to fully grasp just how many compromises and sacrifices are required to cultivate the land without harming the environment.

● A peach tree that has just been bagged. The entire month of May was spent thinning and bagging the apples and peaches.

After “graduating” from the Foodthink’s first ecological agriculture internship programme, I moved to Weihai to run a small ecological orchard on my own. The orchard is perched halfway up a hillside. Just across a road to the north lies a mountain nature reserve, while a stand of mixed woodland stretches to the south. Shallow ravines border the east and west, beyond which lie other people’s orchards.

● The orchard is nestled among the mountains.

Since taking over the orchard last spring, I have begun practising ecological farming: no pesticides, no synthetic fertilisers, brewing fermented plant juice and compost, leaving the ground cover to grow, diversifying crops, and boosting biodiversity. After implementing all of this, and without the miracle boost of agrochemicals, the first year’s yield was, as expected, pitifully low.

● Practising ecological agriculture by composting wild grasses.

Perched on the edge of a forest, the orchard is now frequented by wild animals. Magpies, pheasants, wild rabbits, and the like are constant visitors.

The birds love to dig up freshly sown seeds to eat, or perch on the branches to peck at the largest, ripest fruits. The wild rabbits are even more fastidious; they turn their noses up at ordinary weeds but have a distinct preference for legumes and brassicas. Whether I sow soybeans and peanuts or radishes and leafy greens, they strip everything to the ground the moment the seedlings emerge.

● Beatrix Potter’s celebrated British picture book, The Tale of Peter Rabbit, chronicles how a band of clever, mischievous rabbits outwit humans in a vegetable garden, and was later adapted for the screen. Yet when the plot plays out in your own garden, rabbits hardly seem so adorable.

Yet the vegetables grown by the older farmers in the neighbouring orchard thrive, while mine bear the brunt of it. A quick chat revealed why the birds rarely trouble their crops: they treat the seeds with pesticide, which deters both soil-dwelling insects from nibbling them and birds from digging them up. As for why the wild rabbits only visit my orchard, a side-by-side comparison of the two sites makes it plain. In the neighbouring orchard, the ground is weeded bare. In mine, I only cut the grass when it reaches knee-height. Rabbits would be far too exposed in their manicured plots, whereas my overgrown orchard offers them cover at every turn.

Much like the herders in the film, I initially took my frustration over the orchard’s losses out on these wild animals. After all, my original motivation for adopting ecological farming was to protect the environment. Yet now that the orchard’s ecology has improved and begun drawing in these little creatures, I find myself resenting them.

● With the grass left to grow, the orchard has become a haven for small wild creatures. I’ve even come across pheasant feathers lying on the ground.

After some reflection, I began actively exploring ways to deter rabbits and birds without harming wildlife. I tried putting up a fence around the vegetable patch, but not only were the birds unfazed, my makeshift fencing stood no chance against Weihai’s frequent force 7 or 8 winds and was blown down in short order. I also experimented with scent-based and acoustic repellents to keep wild rabbits at bay, but they proved useless. Finally, on a fellow farmer’s advice, I constructed small low tunnels covered with insect netting to block out birds and rabbits. I can now finally grow beans and vegetables on a small scale.

Compared to the orchard next door, where a quick pesticide application settles the matter, I have certainly gone through a great deal of trouble. But having chosen the path of ecological farming, I was fully prepared for the extra effort and hassle, so I do not consider it a hardship.

● A small low tunnel covered with insect netting, built on a fellow farmer’s advice.

While I empathise with the herders in the film over the troubles wildlife brings to farming and pastoralism, our circumstances are ultimately different. I chose to walk away from a polished corporate career in the city (the modern equivalent of a big-tech office drone) to embrace ecological agriculture because I believe its core purpose extends far beyond merely producing safe food; it is about cultivating a harmonious, sustainable relationship between farming and the environment. Having come to grips with the urgency and severity of climate change, I consciously chose to cede a portion of my own financial interest as a farmer to nature.

Yet for the herders living in remote plateau pastoral zones—largely rendered “invisible” by modern society—the bitter consequences of ecological degradation are borne almost entirely passively. In our relentless pursuit of rapid GDP growth, we have long been accustomed to rallying behind the banner of “at any cost,” rarely pausing to consider whether those truly footing the bill for “development” have any say in the matter. Only when environmental crises emerged as critical global challenges did public discourse finally turn to wildlife conservation. Throughout this shift, we have witnessed governmental resolve and the tireless work of scientists, yet we seldom hear the stories of the marginalised farmers and herders whose livelihoods are financially devastated by wildlife.

This is precisely why I have long admired director Pema Tseden. Rather than exoticising Tibetan life, he approaches it with a profound respect for human dignity, using his lens to examine the intricate dynamics between ordinary individuals and their broader context—the times they live in, society, and the natural world.

Snow Leopard acts as a prism refracting a multitude of social issues, inviting us to grapple with the philosophical proposition of how humanity might coexist with the natural world. As I tend to the land in the mountains of Weihai, I feel a deep sense of gratitude towards Pema Tseden. His film allowed me, sitting in a small-town cinema thousands of miles away, to truly witness the herders’ reality. Stepping out of that cinema, I am more determined than ever to continue my work in ecological agriculture, seeking a harmonious balance between people and nature through everyday practice.

Foodthink Contributor
Li Pengyue
A former IT professional, Li is now an ecological smallholder farmer, independently running an ecological orchard in Weihai, Shandong. She previously participated in Foodthink’s inaugural ecological agriculture internship programme. She remains deeply curious about and committed to environmental issues.

 

 

 

 

Unless otherwise stated, all images are provided by the author.

Editor: Mei Ying