In some of India's most remote villages, where life has remained virtually the same for centuries, change is coming. It takes many forms. The land is drier than before, the summers hotter. It's becoming harder to make a living from the land. The older generation's adoption of ultrasound technology as a means of identifying female fetuses and aborting them has left many young men unable to find wives. Some have resorted to marrying someone from a lower caste. Others have left in search of a better life in the city. All these changes have facilitated other forms of social change, the fading of traditional beliefs, and the acceptance of things that were previously beyond words.
Anand (Bhushaan Manoj) traveled from Mumbai, where he works at a call center, to support his mother, Suman (Jaysri Jagtap), after the sudden death of his father. She knows why he left and why he has never married. He had come out to his father, but despite their acceptance, he still feels guilty about how his sexual orientation has complicated their lives; and he struggles with being in a situation where, for fear of complicating Suman's life at this already difficult time, he can't be honest about who he is. By giving in to her pleas to stay and lead the ten days of the funeral, ensuring the safe evolution of his father's soul, he vows to rebuild their relationship as an adult and once again endure the pressures that made him miserable in the past.
Director: Rohan Kanawade
Writer: Rohan Kanawade
Stars: Bhushaan Manoj, Suraaj Suman, Jayshri Jagtap
Also grappling with these pressures is Balya (Suraaj Suman), a close childhood friend of his, who feels increasingly pressured to marry. He goes out daily to herd his goats, and Anand accompanies him; at first just to unwind, but increasingly because, despite their very different lifestyles as adults, he discovers they have a connection. The film doesn't clearly distinguish between friendship and romantic feelings, and it's never clear to what extent their closeness is driven by convenience, but there's still some magic. We see it in Suman's eyes when a relative leaves her a gift of carefully deboned prickly pears, which Balya sent to Anand. If her son can't marry and give her grandchildren as she once hoped, at least she can hope he settles down with a good boy.
There's a real sweetness and gentleness to this story, in which everyone wants the best for each other, but the differing ways of thinking mean there's still enough dramatic tension to keep it moving. Manoj and Jagtap have wonderful chemistry, and it's in their relationship that the film finds its essence, as Suman tries to strengthen her son with enough love to defend himself against all the world's injustices. At first a self-assured outsider, ready to protect her in her most fragile moments, he once again becomes a child in her arms, opening up to reveal his hidden fragility.
There are a wealth of observations about change. When they spend a day at the local lake, Balya asks Anand how far the sea is from their house, and Anand has to explain that they can't swim there because it's polluted. He laments to his mother that the beautiful stone walls of the local temple have been covered in concrete, and she tells him that's happening everywhere now. Over time, he seems increasingly affected by this on an emotional level, and his relationship with the rituals he performs changes. He no longer seems convinced by the villagers' beliefs, but rather develops a certain reverence for the traditions themselves, as something worth preserving for their own sake. In doing so, what began as an effort to comfort his mother gradually leads him to a place where he can confront his own grief.
Although writer-director Rohan Kanawade grew up in the city, the rural setting conveys a profound authenticity, and the entire film is treated with exceptional sensitivity. It is a thoughtful, lyrical ode to a vanishing way of life, filled with respect for its contributions to modern urban India. Love takes on previously unknown forms, but remains intact, like a soul migrating to a new body. By the time Anand finally takes the train back to the darkness, filth, and cramped spaces of the city, the bright, open spaces of the village have found their place in his heart.
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