Despite all efforts for women’s emancipation and the increasing relevance of the conversation on feminism, India remains a deeply misogynistic and sexist society. While we strive for change, to usher in equality, the role of art gains immense significance as a tool capable of invoking powerful thought which has the potential to lead to action, and eventually, reform. The documentary Shut Up, Sona attempts to achieve the same, to question the status quo of inequality and sexism, and succeeds most brilliantly in making its point. The narrative follows the life of Indian singer and musician Sona Mohapatra and raises deeply disconcerting questions about the gendered nature of art in contemporary times. The scene is of Sona’s house where she discusses a legal notice with her husband Ram Sampath, also an accomplished music composer. As our protagonist introduces the viewer to all that she is being alleged of - singing a song as old as several centuries, and devotional in nature, in what society deems to be ‘inappropriate’ clothes and make-up, you are allowed to share her combined rage, disappointment and hurt. <h2>The story of an artist condemned for blasphemy over a piece of art that did not sit well with the times is not a new one. Yet, as Sona points out, in twenty-first century India, male artists are allowed to get away with much more than their female counterparts. It is not about religion or a religious figure, it is about being a woman, it is indeed about gender, as the documentary itself points out.</h2> As the narrative progresses, it touches upon several aspects that a woman singer or, as a female voice (surprise, surprise!) is heard announcing while introducing Sona, “songstress”, has to deal with while trying to make herself heard in a predominantly male field as well as world. There is a sense of validation, emancipation and empowerment for women, in particular, and the marginalised in general, to be found in this deeply poignant narrative where Sona refuses to relent, to give up, to break, to “stay in her place” despite all odds. <h2>She may be questioning the qawwals in Delhi’s Nizamuddin Dargah where women are still not allowed inside the inner sanctum, but a calm smile will not leave her face. She may disagree with her husband’s approach to let the allegations and accusations blow over, to not say a word, but it will not alter the course of her fight. She may revisit the close confines of an old hostel room, find herself break down in it, yet find it in her to smile for the selfie-camera a young girl has directed towards her. </h2> There is a sense of self-awareness in Sona that makes the narrative more meaningful than it already is, that protects the film from being threadbare, hackneyed and preachy. Instead, it is powerful, ensuring that the viewer finds themselves questioning why only a woman’s presence is not sufficient on stage, why she has to seek validation and acceptance, not through her art, hardwork and skill, but by using male presence as a crutch, why any attempt to break away from it would incur upon her the condemnation of her family, society and loved ones. Sona is fearless in calling out people who do not stand with her. Her anger is almost like a character in the film which supports the narrative most wonderfully. The film takes you into a tour of her disagreement with society, it leads you by the hand into an understanding of it, breaking it down for you bit by bit. This harsh truth that the viewer is forced to swallow like a bitter pill is juxtaposed against her melodious, soulful singing to the point that every time Sona opens her mouth to sing, the viewer is not far from goosebumps. Consequently, the documentary becomes a strong, pertinent comment on society and the manner in which it locates women across different fields, age groups and social positions. The protagonist, her talent and her rage all enhance it further making it a wholesome, relevant product.
 
Written by Rosheena Zehra

Shut Up, Sona | Review | Sona Mohapatra

There has been a recent surge in mainstream films set in small cities of Northern India.
However, in ‘Bareilly ki Barfi’ (an otherwise good film), when Kriti Sanon smokes a cigarette
sitting on her rooftop with her father, she does not have to think log kya kahenge?. Most of
these films do not tackle the actual hardships of living in these cities. The burden of living in a
society where it dictates your personal life to the point of absurdity is perhaps not a suitable
topic for entertaining cinema. 

Kislay’s ‘Aise Hee’ has proven it can be done. It is a film about an elderly woman in Allahabad
(later Prayagraj) who, after the death of her husband, begins to live her life on her own terms.
The husband, however, is a looming shadow in the film, his absence the driving force.

<h2>Little scenes in the first act brilliantly build this up. Earlier on, we see her younger family
members scrounging for colourful sarees in her wardrobe that she would no longer need. Her
son and daughter-in-law diligently plan to give her room on rent for extra money. The locals
respect her for being a lawful wife, and by extension, expect her to be the perfect widow. </h2>

When she breaks away from the norm, society is not ready to handle it. Until then, perhaps
her presence was little more than a venerated idol in the house. Stones don’t require people to
change their lives for them. Kislay’s brilliant screenplay follows her journey in every aspect - in its
pacing, its momentum and its interaction with side plots.

<h2>The film is more than her story. It slowly, but surely develops into a competent social and
political commentary, and a story of a middle class family struggling to keep their lives
functional. Her son, brilliantly portrayed by Harish Khanna, struggles with the uncertainty of
contractual government jobs. When we see him burst out in anger at his family, we see his
frustrations. It is apparent that his professional life is confined to being a yes man to a boss who
couldn’t care less, trying to find work in an industry he clearly cannot understand.</h2>

Another brilliant moment comes in the character sketch of his wife, she finds her kitchen in
disarray, only to see her apathetic daughter coming in and nonchalantly contributing to the
mess. She bursts out in tears as she cleans it. 

A strong subsidiary plot is set in the backdrop of radicalisation of youth as Allahabad becomes
Prayagraj. ‘Aise Hee’ is able to comment on class relations, religious tension and misogyny in a
multi-layered narrative that is ultimately the struggle of a family to keep itself together in a
disintegrating society. 

All characters fall victim to their circumstances in their own way. Kislay compounds it with collages of their real
pictures from a life of ‘innocence’ as he completes their character sketches while Schubert’s C
minor symphony plays in the background. 

The filmmaking is relentless, unnerving, yet intimate. The camera understands its characters,
and never judges. There are no clear blacks and whites in their bleak world. In a sense what we
do not see in the film is worse. Kislay has presented a world at the brink of a fallout, desperately
clutching to itself. When we look back, the comedy of errors seems less comic and more ominous with regards to what is to come. It is the story of a degenerating society that might just
crumble, where nothing can be done ‘aise hi’. Well-meaning things have dark repercussions,
and the individual is never free from the dehumanizing grasp of society.

 
Written by Nimish K Sharma

Aise Hee | Review

The little moments that constitute life are weaved together most seamlessly in this anthology of short films. From the loneliness of old age, and a deep desire to reconnect with someone, to the little joys of simply eating an ice cream - the thematic concerns are far and wide across the spectrum, and yet never out of synchronisation with one another. Each story that the film offers is more powerful than the other, and is bound to stay with the viewer long after they are done watching it. The subtle, but potent commentary the narrative presents on issues of gender, misogyny are loud and clear, without falling in the trap of sentimentalism. Additionally, the film's insight on old age and mental health is noteworthy. The performances and portrayal of all the characters enhance the stories further, ensuring that often only the eyes are sufficient to express and communicate the intended sentiment, even before the film makes it explicit for you. All of these elements together allow Jump Cuts to work on several levels, making its success well-rounded and complete in itself.

Jump Cuts | Short Film of the Month

Trigger warning: sexual assault, violence 
The film treats its narrative in a manner that ensures you are deeply involved in the unfolding events, all along being disconcerted at your interest in the morbidity of it all. 

The protagonist, a serial killer, is led by his hatred towards women while choosing his victims. He not only murders them brutally, but also records their last moments on camera. One day, his path crosses with two men, who may not be serial killers, but are just as brutal in their approach towards women. 

The film weaves an involving narratorial development, with the predominant action confined to a single night. The story remains engaging throughout, the performances authentic. The plot presents a disturbing reality, and a suggestion of the cyclical nature of violence, especially when it's rooted in sexism and misogyny, but brief as it may be, perhaps there’s also a small respite and moment of redemption to be had amidst it all.

With Love From a Killer | Short Film Nominee

The importance of art, if it intends to be the fountainhead of societal change, is its ability to simplify and put forth complex ideas, intricacies and nuances of our lived reality. Raja Beta succeeds precisely in achieving that, in holding up the mirror to the patriarchal oppression and discrimination in Indian society. Coupling animated visuals, devoid of clutter or garrulousness, with a skilled, lucid and comprehensive voiceover, the film puts forth its narrative, one that questions an Indian family's biases and hypocrisy manifested in the manner in which they raise their sons and daughters. The film further calls out internalised misogyny and perpetration of rape culture that we often encourage unconsciously in our day-to-day lives. Its message is shared with the viewer in no equivocal terms, allowing the film to be a relevant and much-needed comment on our deeply flawed approach in understanding and handling gender.

Raja Beta | Short Film of the Day

The film endeavours to be a relevant comment on systemic misogyny, internalised patriarchy and the consequent, deep infestation of rape culture in the country. It would be erroneous to expect a nuanced, subtle commentary here, instead the narrative is meant as a simple, direct conversation with the viewer. Sincere and honest in its attempt to talk of a cruel, barbaric reality where the most heinous sexual assaults have become commonplace, Express Yourself does its bit to add to the conversation on gender. The idea and its execution is further supplemented by Sonu Nigam's powerful voice, along with interviews with two activists on the front lines of the battle against patriarchy and sexism, allowing the documentary to put forth its views in a notable manner.

Express Yourself | Sonu Nigam | Short Film Nominee

Trigger Warning: Sexual violence, graphic content 

India, as a country, is deeply steeped in misogyny, patriarchy and extremely sexist behavior that damages society adversely in several ways on multiple levels. Often, the strongest instruments of patriarchy are women themselves which enforce this problematic code of conduct, further leading to a condoning of the wrongful acts committed by men. Not only are women left to deal with the brunt of it all, but are also blamed for it. The short film is an endeavor in engaging with all of these concerns in a sincere manner. The setting it chooses for the same is one of darkness and disconcerting silence. As a couple argues about an unpleasant incident, the viewer is allowed to realize that the circumstance is perhaps more sinister than what meets the eye at first glance. Through a plot marked by suspense, thrill and a climax (albeit a little foreseeable) brimming with intense emotion, it asserts its intentions loudly and clearly, forcing the viewer to sit up and take note of a grotesque reality of the world it inhabits.

Soulmates | Short Film Nominee

The short narrative acquires a lyricality as it endeavors to bring its intentions to life. Borrowing words from Madonna’s iconic 2016 speech at the Billboard Music Awards, it conjures visuals that employ efficient use of the same physical space. 

While there are presence of edges that can be smoothened out in future projects, the message of the micro short remains emphatic and lucid. A comment on the location of women in society, the words of the singer become the backbone of the narratorial progression. The two elements, the dialogue and the visuals, are thus coupled together, and tied as one with the ribbon of brevity. Additionally, a specifically stylized approach further allows for an attempt at furthering the conversation on a patriarchal society’s distorted lens of viewing women.

I Want You to Panic | Short Film Nominee

As the conversation around misogyny and women's safety gains more and more relevance, the short film does its bit to further the same. The narrative takes the viewer directly into the heart of action and portrays for us a scene of abduction. As a woman is held captive by two men, the plot endeavors to hold a mirror to society, and its deep-set, problematic notions about women and their location within it. 

Alongside this, the forward movement of the plot continues, continuing to question these extremely destructive forces, while also showing a character who refuses to be a meek, coy being deprived of agency. The various elements are eventually tied together and presented to the viewer, ensuring that the message is shared in an unequivocal manner.

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