The film opens with a zoomed in scanning of a corpse, dressed for a Hindu ritualised cremation. It accurately spells out the temper of the film, one of
anger and frustration, perhaps even rage. One can tell that the film is coming as a
reaction to the atmosphere of genocidal killings of the Muslim population in India that has been carried
out with implicit apathy of the rest of the country, but is
it enough to let art use voyeuristically graphic violence in the form of a reaction to it? <br><br> Perhaps one cannot
evade ethics while dealing with a sensitive political subject. The film itself presents the possibility for an antidote to this outrage through the figure
of Master Kaka who engages with the big complex questions through “common-sense”, compassion and
commitment to change.

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