screening schedule

Sunando Mukhopadhyay is a banking and finance industry professional and our very own Film Reviewer! Here are some of his reviews of films screened at the Footprint Film Festival.

This film is about a topic that India should be ashamed of, rape.  According to the World Population Review, India has the 3rd highest number of sexual assault cases worldwide, exacerbated by the problem that most rapes aren't even reported due to shame and social, political pressure.  The treatment of the subject in "A Body Without A Voice" is indeed thought provoking and bears a sensitive portrayal of the victim's sentiments. Her transformation from a young, bubbly, energetic and happy individual to someone who loathes the human touch, even of friendship is heartbreaking.  For a first time effort of the maker Harsh Khanna, the film is a complete package, boasting of professional finesse with little amateur characteristics. The best part is the focus and importance given to the histrionics department as it is the victim's execution of the transformation that is meant to hit the nail on the head, and it actually does.  If the voice over had mellowed somewhat to signify the psychological stress, fear and unwillingness to carry on with life, instead of the same energetic tone, it could have heightened the tragedy within. Incidentally, the need to raise awareness about subject is something that each one of us has a responsibility for, and act we must!

Knock, created by Ashnah Jacob is simple, yet artistic. A young boy (Rishabh Matthew Jacob) leads a solitary and routine life in lockdown.  He wakes up, drinks water, stares out of his window, eats his breakfast and studies.  Discipline is at his heart - for every knock on his door, he religiously wears his mask and opens the door.  Often, he opens the door due to a knock, but doesn't find anyone out there - perhaps, it's an opportunity knocking?  Did he miss it?  It happens with him every day at the same time to start with and then at different times as the days progress, but Rishabh doesn't let his guard down.  Until one day, when the knocking is vigorous, and yet he cannot see anyone out there, he decides to risk it - he drops his mask at home, and steps out into freedom, or is it what we think?  Knock leaves the conclusion wide open to interpretation and there lies its creative subtleties.  Did Rishabh step out into an opportunity or a risk is left for viewers to assimilate.  The sets are simple, Rishabh is energetic and Ashnah's approach with the silent movie is fresh.  A little background music would have made a positive difference to the film which has been made with really lean resources otherwise. 

We are born unto a world that thinks that being judgemental is only the done thing.  Of course, everyone should have an opinion about everything, but when such opinions begin to harm others or hurt sentiments, control becomes a key necessity.  It isn't about censorship or policing, it is actually about being conscious and open-minded.   Flaws, with Udamya Mishra at the heart of the film presents the sensitive topic of body shaming and its impact on impressionable lives.  The film showcases a young girl with a desire to dress herself up with stylish garments that she finds online and how she is body shamed by her school friends who believe that fashion belongs to the slender bodied and mustn't be tried by those who don't fit the definition.  The girl suffers the humiliation in silence and develops a complex about her body as she isn't lissom, and perhaps wallows in depression.  Then she confides in another girl who is compassionate towards her and is lean, and is surprised to learn about the latter's insecurities as even she faces criticism for some other reason.  Flaws is a subject of gravity and should make us introspective, have we been mean to some people and how must they have felt about it.  The film is well thought through by the creator and presented candidly, I believe a little more attention should have been given towards the histrionics of the protagonist whose expressions remained monotonous throughout.

Kabir Kidwai's "We Stand For Peace" is a polished documentary film featuring peaceful protests by students and those who care against the police atrocities, government indifference and curbs on freedom of speech.  It adopts a fresh editing prism, using clips, live recordings & digital still photos to showcase the activism and role of students, their philosophy and approach.  The cinematography is par excellence and the digital stereo used is impressive.   This documentary is all about spreading the awareness of the movement and how the students are locked up in cells, whilst making a brief introduction to the reason for the protest. 

Aadya Amritesh's "Masti Makers" is an engaging piece of filmmaking.  The theme is simple yet relevant, how to break the monotonous routine of attending and conducting virtual classes during COVID19 lockdown and make learning fun.  So one morning, Aadya wakes up and decides to splash some colour to the class, makes herself up and wears trendy clothes when the classes begin. The teacher, Ms. Ganga is obviously miffed at her actions as she finds the idea outrageous and dismisses the class, much to Aadya's chagrin.  Yet, her classmates find it a refreshing change to the humdrum digital classes and resolve to follow her suit the next day, expecting disdainful comments from the teacher.  The outcome of this initiative by Aadya and her friends is what message Masti Makers leaves us with.  The approach, story idea and the creative execution are brilliant.  The film is almost at a professional level, with the cast credits, music, sound & picture clarity and a technically superior feel.  In the end, it also fulfils the role of cinema being entertaining and giving a social message.

Kabbo Kabir's Trikonomiti is indeed a tragic and heart wrenching tale of a family, presumably in a suburban or even rural part of Bangladesh, that has been shaken up by COVID19.  The youngest daughter is actually writing a series of letters to her deceased mother who she misses dearly.  In the letter, she bares her heart to say that everything changed since the mother died - the eldest sister Bubu has had to take charge of the household, the father has gone jobless and they no longer get out of home.  We eventually learn how slowly, but steadily, the pandemic is affecting the family more and more.  There's pathos, unrestrained sadness and despondency in the narrative to enhance the tragedy.  The film is shot in black and white, thus giving it a mellowed profile and the use of instrumental Rabindra Sangeet has heightened the effect, multiplying the sadness of the young Opshora Oli.  The film is a poignant essay of innocence, inheritance of loss, hopelessness and tragedy that leaves a lasting impression. 

Nayantara Sen's creation of Sincerely, Me is a young girl's diary about the void that COVID19 has created in our lives, dashing hopes, aspirations and desires, giving birth to despondency.  Nayantara uses verbal commentary as a vehicle to express her situation of being locked down with her parents at home, not having anything worthwhile to do.  She admits that she had big plans for 2020, but it all crashed.  The voice over contains hopelessness and disappointment, and it's enough to convince us of the aftermath of the pandemic.  On a critical ground, I wouldn't call Sincerely, Me a film by the traditional definition, it's more of an audio book, a letter addressed to someone aided by some visuals.  Technically, it has the opportunity of a significant improvement with rather use of music, more appealing histrionics, and credits for the cast, etc.  In the end, the film appears incomplete, as it inconspicuously terminates.

Rehaan Das' "The Discordant Note" illustrates the impact of lockdown due to the COVID19 pandemic on people's mental health.  Ranajit Roy and Rita Roy play senior citizens in their twilight years locked in together, 24 X 7.  Rita speaks about her interests of homemaking and how she likes to keep things neat and clean always, perhaps bordering on an obsessive compulsive disorder.  She also likes to wear makeup and look pretty.  On the other hand, her husband is consumed in his own world of newspapers, computers and some professional pursuit.  He couldn't care about her likes and perhaps doesn't consider her sociable.  They spend their days on their own, individually, but under the situation, crossing of their paths is inevitable, opening bare the years old discord and disagreement with one another. The film is reminiscent of the genesis of "Belasheshe", that showcased the disharmony Soumitra Chatterjee felt with his wife Swatlekha Sengupta, in which, the former was the outspoken one. In The Discordant Note, the situation is narrated by Rita who seems to be the more expressive one.  The issues are trivial, but tolerance is difficult.   The film makes its point, as matters could quickly spiral out of hand and land either or both individuals into mental health issues.  The film is content rich, essayed in a sombre mood, and both characters lend credibility to the subject.  The use of the staccato style of narration with the situations makes it a praiseworthy venture.

Directed by Chirag Garg, and created with Riya Madan, the concept of "The Brain That's Caged" is about the developing mental health issues of a young girl during the COVID19 lockdown.  She (voice over by Ishita Namjoshi) admits how with every passing day, she feels her mind is decaying and falling into an irreversible abyss as she cannot go out, remaining locked down at home doing the same things and thinking about her parents.  She doesn't find time for herself and no one is asking her about her real problems - she believes no one's interested to know.  This certainly is the onset of a depression.  The film uses a diary style narration (with a powerful voice over) and interesting animation of a brain that's feeling the decay being caged in.  It could well pass off as an audio book, but Riya Madan animation and use of props around the brain hit the bullseye in making the point visually too.