A BARDO IMMERSIVE MOVIE
A young love triangle in the life after death state – one is in a coma (near-death experience), one is truly dead, and one was given a date drug.
Tibetan Book of the Dead
Bardo Thodol (Bar-do’i-thos-grol) in Tibetan or more commonly known as “The Tibetan Book, of the Dead”, is a classic of the world’s religious literature.
It concerns the nature of the mind and its projections – beautiful or terrible, peaceful and wrathful – which seem to exist objectively and inhabit the external world.
In particular, it describes these projections as they appear immediately after death, in a much more overwhelming form since the consciousness is no longer grounded and shielded by its connection with a physical body.
It teaches recognition of these terrifying and seductive forms, and through recognition attainment of the state of enlightenment.
This centuries-old scripture was traditionally read aloud to the dying to help them transcend and see death and rebirth as a process that offers the possibility of attaining ultimate liberation.
Bardo means gap. It is not only the interval of suspension after we die but also suspension in the living situation.
According to the Tibetans, death happens in the living situation as well.
The Bardo experience is part of our basic psychological make-up. The book is not only a message for those who are going to die and those who are already dead, but it is also a message for those who are already born: birth and death apply to everybody constantly, at this very moment.
STORY OUTLINE
1. The Setup – Three Lives, One Threshold
The film opens with a ghostlike young woman, Julia (21), floating in a vast, luminous void—watching.
We cut to Adam (24), a gifted but emotionally restless VR designer in Los Angeles, obsessed with building immersive realities. Over a weekend trip to Las Vegas for a tech expo and music festival, Adam meets Chloe (22)—a fashion student secretly working as an escort. Their connection is immediate, sensual, and charged.
Unseen, Julia watches.
During a night of excess, Adam takes experience-enhancing drugs, overdoses, and suffers a heart attack. He is rushed to the hospital and placed on life support—clinically near death.
As Adam slips into a near-death state, he awakens in a surreal, shifting reality—the Bardo. There, he encounters Julia, who is revealed to be his former college love and wife—the love of his life who died three years earlier.
But the truth is deeper: Julia is not entering his experience—she has been there all along. She is truly dead, and through Adam’s coma, she is able to experience the living world again through his consciousness. Their perceptions merge. Everything Adam sees, she sees. Everything he feels, she feels.
As Adam struggles to understand where he is, Julia urges him to return to life—to wake up. But beneath that urgency lies a hidden intention.
Because Julia has brought Adam and Chloe together—for a reason.
2. The Bardo Journeys – Memory, Karma, and Connection
Through Adam’s near-death experience, we move fluidly between realities: dream states, drug hallucinations, memories, and moments of illumination where life and the Bardo intersect.
Adam relives his past—his childhood, his fractured family, and most importantly, his relationship with Julia: their love, their intellectual and spiritual bond, their travels, and the betrayal that broke them.
Julia experiences all of it with him—not as memory, but as presence.
At the same time, Adam’s Bardo journey becomes increasingly unstable—shifting from awe to terror. Guided and tormented by the shape-shifting Dr. Death, he encounters manifestations of his own psyche: guilt, desire, fear, and unresolved karma.
Unlike Adam, who resists and struggles, Julia understands this realm. She sees the patterns. She begins to recognize that karma is not fixed—it can be resolved, redirected, even transformed.
Adam ultimately turns back—his body revives. He wakes up in the hospital.
But Chloe rejects him, shaken by the experience. They separate.
Julia’s plan begins to unravel.
Desperate, she sets a second chain of events in motion: Chloe is drawn—through a date-drug experience—into her own altered state, slipping partially into the Bardo.
There, Julia and Chloe finally meet.
What begins as confrontation becomes something deeper: a reckoning. Through shared perception, they uncover their karmic ties—jealousy, desire, competition, and connection. They resolve what stands between them.
Now, all three are linked.
3. Julia’s Journey – Judgment, Time, and Rebirth
The final act belongs fully to Julia.
Her path through the Bardo intensifies into a true spiritual trial. She faces judgment—not from an external authority, but through the totality of her own life: her love for Adam, her attachment, her pain, her inability to let go.
The Bardo begins to close.
There is a ticking clock—a narrowing window in which rebirth is possible. If she misses it, she will be carried into another cycle, another life—losing Adam forever in this one.
She is confronted with a choice: release her attachment and move toward transcendence… or fight to return.
Julia chooses love.
But love here is no longer romantic—it is transformational and sacrificial.
She must alter the course of events in the living world—guiding Adam and Chloe toward each other, not for herself as a lover, but to create the conditions for her rebirth.
Her obstacles are immense:
- Adam’s emotional resistance and confusion
- Chloe’s fear and trauma
- The instability of the Bardo itself
- The pull of dissolution and oblivion
Through sheer will and awareness, Julia begins to shift karma—subtly influencing perception, connection, and choice.
Adam and Chloe are drawn back together—this time not through lust, but through something deeper, unresolved, and human.
As time runs out, Julia races toward the threshold of rebirth.
In a final convergence, the boundaries between life and Bardo dissolve. Julia must arrive at the precise moment of conception—or lose her chance forever.
She makes it.
The film closes with the suggestion of new life: Julia reborn as Adam and Chloe’s child—Jules.
Adam and Chloe, unaware of the full truth, feel something profound has shifted. A connection beyond explanation.
Love Eternal becomes not just a story of life after death, but of love transformed across forms—from lovers, to loss, to rebirth.
A love that refuses to end—only to change.
History
I came across this book as a teenager in India when we visited Nepal.
When I was at MIT, studying art, design, and film, I received a grant to turn it into a one-hour immersive three-screen film and I had William Burroughs writing the script and Phillip Glass the music. We got only part of the way as the computers were not up to speed.
When I came to Hollywood, I developed a screenplay (“Bardo”) which was a mainstream film aimed at a wide audience, and also two subsequent low budget indie versions (“Last Verse”, “In a Dark Wood”).
After seeing the recent breakthroughs in VR I became interested in a realization of it as a VR experience and embarked on creating a new screenplay – utilizing lessons learned from the previous incarnations of this project and molding it into a VR experience that could be perfect for today’s audiences.
After realizing that VR needs more development as a medium – did not seem to catch on, and the image quality is still lacking, I see it now as a movie, that would be shot in an immersive style, in ultra high resolution, that could be screened in IMAX or even larger venues (such as the Las Vegas Sphere), as well as a traditional movie formats. The VR could be a side component – a series of moments taken from the story, to be released on a platform like the Apple Vision Pro.
The screenplay is divided into chapters of 12 minutes length each (because in VR, it becomes too exhausting to watch), so the project could also be made as a limited TV series composed of half hour, or one hour episodes.
The screenplay is an epic story that was intended to “overwhelm” the mind of the viewer (simulating what the Tibetans describe as the death experience), and in a TV medium it could be taken more slowly and leisurely, with each segment expanded, so we spend more time with the characters and the situations.
Filmmaker Statement – the History, the Vision
Inspiration
Several films have been an influence – Its a Wonderful Life, Ghost, Jacobs Ladder, 2001 and Enter the Void, Matrix.
Even people who do not believe in life after death or reincarnation would relate to the story – it is about looking back and seeing the effects of karma – the power of each action, word, and thought.
It is also about being fully in the moment in every point – seeing the magic of life, the world all around us and the loved ones that surround us and are connected to us in more ways that we can imagine.
It’s about how we all are so interconnected and ultimately one and all.
It is really a movie about love and life, rather than death.
I see it as a new version of the classic “It’s a Wonderful Life.”
My hope is for it to be a visceral (beautiful, awe-provoking, mind-blowing and at times terrifying) experience as well as a journey that is moving, emotional, sensual, consciousness expanding and ultimately even “spiritual”.
Core Audience
Understanding death one can lead a richer more meaningful life – especially if there is still much left to experience – so we are aiming at younger audiences.
The central character is a designer of games – the story is about young love, childhood, school, college, relationship to one’s parents.
It is set in the world of tech start-ups, the Electric Daisy Music Carnival, Burning Man Festival, the outdoors – backpacking around the world, action sports and situations that would be fun for a young audience to enjoy as a large screen immersive and VR experience.
Budget
Coming from the independent world, I see this as a film that could be done on a modest budget – it could mushroom into something bigger by embellishing the effects – but at its core it is an emotional film – about real people – real lives – real places – so the effects should not overpower the experience. As an indie project, it can be more daring and we can push the envelope further.
Immersive Large Screen Experience and VR offshoots (in conjunction with the movie)
The Tibetan Book of he Dead describes the Bardo as an overwhelming hallucinatory state, that is multi dimensional, combining simultaneous levels of time, memory, space and realm.
The audience is the consciousness of one who has died (subjective POV), but the character can also appear “watching”, so we can also become an objective POV – like watching one’s physical ghost of current age beside one’s mother in childbirth – seeing one’s own birth.
The past and the present reunite and become one. It is a chance to merge several realities and time frames into a single shot, witnessing a collage of moments from one’s life play out all around as we, or the protagonist, interacts with the memories.
The experience is grounded by placing it largely in real settings with real people from the main character’s life – it is more about connecting death to life rather than visiting otherworldly realms.
Films about death typically have fantasy settings can be problematic (“What Dreams May Come”, “Pretty Bones”) because they try to create a sort of spectacular, limbo-fantasy life-after-death setting which is unreachable for our imagination.
Adam’s experience is colored by him being a designer of video games – but these elements can be kept to a minimum if the budget is a constraint.
The three characters are often seen surrounded and immersed in memories, visions, and hallucinations (“cycloramas”) – to be filmed on a 360 green screen set and then capturing various moving components individually to collage behind and around the actors.
Personal Connection
My mom has vivid memories of her past life, and I have seen the proof – I’m 99% sure that life does not end after death.
My writing partner on the original “Bardo” passed away a few years ago, but the moment I decided to write the new version as a VR film, the script came to me guided as if from beyond – often I found myself writing, without even being aware I was writing – and it was a joyful experience.
I met with a practitioner of past-life regression therapy and interviewed her. One fascinating aspect has been the reversals she has encountered, time and after time – unresolved issues repeated from life to life – men being re-born as women, parents reborn as offspring, the same “cast of family characters” appearing in different configurations. She has seen abusers being reborn as the ones abused, racists as ones discriminated against, killers as their victims.
I tracked down the Dalai Lama and offered the script to him – he took it, smiled and sort of giggled… then just bowed – a perfect “Bardo” moment.
Rafal Zielinski
