Member Reviews

Girls Will Be Girls is a quietly breathtaking film. It includes several remarkable debuts – starting with writer-director Shuchi Talati. This is her first feature, and she weaves this coming-of-age story of 18-year-old Mira with tenderness, frankness and delicacy. Female teenage sexuality has rarely been captured with this sensitivity and nuance in an Indian film. Second, Preeti Panigrahi who plays Mira. Panigrahi is the find of the year. Without a trace of strain or drama, she captures the myriad emotions coursing through Mira as she discovers passion, sexuality, unbridled rage, a twisted sort of jealousy, resentment, disappointment and eventually, comfort. And third, Richa Chadha and Ali Fazal who debut as producers with their company Pushing Buttons Studios. Girls Will Be Girls does this with skill and uncommon grace.

Writer-director Shuchi Talati’s debut feature is a simmering and sexually tense coming of age drama. Set in a boarding school, the story is centred around Mira, a school topper, head prefect and teacher’s pet. She’s driven to excel and considers herself the model student, upholder of school rules and moral gatekeeper. So, it’s confusing for the obedient and righteous Mira to be faced with challenges outside of the curriculum and to realise that book-learned knowledge might be no match against street smarts, life experience and generational patriarchal conditioning.

A brilliant and sensitive schoolgirl in love with a classmate is watched, monitored and scrutinised incessantly as she seeks to break free from familial and societal shackles in Girls Will Be Girls, writer-director Shuchi Talati’s self-assured, award-winning narrative feature debut now streaming on Amazon Prime Video. The exquisitely crafted and insightful coming-of-age drama, an Indo-French co-production that bagged two awards at the Sundance Film Festival this year, is buoyed by impeccable writing and a couple of consummate performances by debutante Preeti Panigrahi and the seasoned Kani Kusruti.

A house, lived in for years, bulldozed by the Israeli military in front of its inhabitants, leaving behind a pile of tangible memories under the rubble. A youth resisting the burning down of an Olive orchard shot down by a settler with practised ease and nonchalance, just as if it were the most normal thing to do. Soldiers violently barging into every single home in a village in search of an Israeli military man who was abducted.

Sometimes, the most gentle turns in a film can create a considerable emotional impact on the viewer. The filmmaker need not necessarily move a mountain to achieve that. Belgian filmmaker Anthony Schatteman’s Young Hearts, with its fresh take on teenage gay romance, is filled with several such moments that flow organically one after the other. Being screened in the World Cinema section at the 29th International Film Festival of Kerala (IFFK), this rather small film about young people has gained appreciation amid a flurry of bigger films boasting wider festival play.

The spark that initiates a work of art can come from anywhere. For Sivaranjini J., it came from the unusual sight of a rooster sitting inside a beauty parlour near her home in Angamaly. Victoria, her debut film which was screened at the Malayalam Cinema Today section at the 29th International Film Festival of Kerala on Saturday, is set almost entirely a beauty parlour.

While watching Pierce, the debut feature of former Singapore national fencer Nelicia Low, one would assume that the sport inspired the film, for fencing is at the very centre of the narrative which deals with brotherly affection and psychopathic tendencies. The trademark moves in the sport, which one character defines as chess played with swords, also parallels the behaviour of the characters in the film, screened in the world cinema section at the 29th International Film Festival of Kerala (IFFK) on Saturday (December 14, 2024).

Once adulthood sets in, and once we’ve accumulated enough years, most of us have two types of recurring dreams (and nightmares). One revolves around the terror of remembering that the exam is tomorrow and we haven’t touched the school syllabus. The other is shaped by the horror of finding ourselves naked in routine situations, while being totally helpless about it. Both of these are trauma responses to our fraught relationship with society. Both feature a link between social conditioning and shame, but Abhijit Muzumdar’s Body confronts the steeper task of exploring the second dream. It’s a testing watch, but ultimately quite a rewarding one.

In times when films have become social/ideological statements, it’s refreshing how Miss You still wants to be a simple story about ordinary people, everyday situations. The plot, centred on memory loss, fragility of modern-day marriages and second chances, banks on its slice-of-life treatment to see itself through. Yet, its simplicity paves the way for mediocrity due to the jaded treatment, time-tested storytelling tropes and poor music. There are flashes of Siddharth’s good-ol charm and decent performances by Ashika Ranganath and Karunakaran for intermittent relief. Miss You has its moments but is too casual and lacks conviction to be a memorable romance drama.

Devi (Soumitrisha), who only remembers the past six years of her life, gets married to Rudra Roy Burman (Indrasish Roy) — a drunkard and lecherous son of Samaresh Roy Burman (Debesh Chattopadhyay). Devi’s mysterious friend Maya (Koushani Mukherjee) — known for her ominous presence – predicts that Rudra will die the next day after their marriage. Her prediction becomes real.