WATCH THE TRAILER HERE
First, the Recap:
Disregarded and underappreciated. Two terms no one wishes to equate with the condition of their marital status, this is for certain. Attempting to function as a unit when it comes to all the aspects of life you are to share within the bonds of “I do” can be a challenge for sure, but should be able to be worked through together, even when inevitable differences will arise. However, what occurs when the degrees of disassociation and building sense of neglect reach a pivotal breaking point? Amruta (Shivani Tanksale) faces this daily thanks to Ajay (Sanjay Khapre), her completely ignorant and apathetic husband. Attempting to find any form of satisfaction to sate her needs, Amruta turns to a decidedly racy source to quench them–if she can ever find time that actually belongs to herself alone!
Next, my Mind:
Well, needless to say, I always tend to learn or be exposed to something (or many things!) new to my expanding knowledge base when it comes to South Asian culture via watching the films, especially those currently offered at the 2022 DFW SAFF sponsored by Toyota USA and hosted by Jingo Media Founder/Festival Director Jitin Hingorani and Artistic Director Ambica Dev. I had NO idea going into this 17-minute short that had its World Premiere as part of the Women’s Shorts Programming being showcased Sunday at the event what the title of the project meant or involved–and then I looked it up. OHH–so THAT’S the foundational theme behind this film?? I therefore wasn’t precisely sure what I was getting into. Thankfully, leave it to indie filmmakers to take what COULD have been a complete exercise in overly explicit content and turn it into a truly human story-accessible, relatable-even if, yes, just in small overall part risqué, in order to address desire, even sexual in nature, via a manner that speaks provocative, candid truths.
Brought to life by writer/director/producer Abhinav Singh, co-director/cinematographer Remy Dalai, producers Dayanidhi Dahima and Sibasis Nayak, executive producer Praveen R. Das, plus associate producers Pria Mundra and Shaneem Zayed, the narrative follows a frustrated-in-more-than-one-way wife trapped in a blatantly poor marriage with a non-attentive but still critically demanding spouse, making the exploration of fundamental desires being deeply unfulfilled while having to face the realities of having every facet of running a household placed squarely on one’s shoulders with NO time for oneself quite affecting and effective in the ways it’s depicted. The atmosphere of building and building discontent carries through to revealing all the moments demonstrated how the woman is making every attempt to gain satisfaction yet can never do so because of a kaleidoscope of circumstances that keep fouling up ANY instance of “free” time she might seek out. Even a play at personal fantasies is given some moments of screen time here.
This gives the story a darkly humorous tone, because as much as we can feel a notion of empathy for the overall situation being displayed, the fact that there’s never a substantial amount of time to enact what she’s ultimately wishing to achieve no matter HOW she tries to make it happen just carries with it an innate sense of whimsey even when, as stated above, we DO so empathize with the plight she’s encountering. The film certainly makes it quite plain, through title and beyond, how the sought after fulfillment of desire is being pursued, and even this is illustrated in a more playfully jovial way rather than what would be seen as “dirty” or overtly sexualized, at least in this critic’s opinion, which is saying something as content of this nature that DOES get taken too far is something I don’t personally prefer or enjoy. It speaks to a wider scope of how much we might find ourselves lacking gratification in that which we so deeply yearn for, trying to discover the means to reach it, and constantly being thwarted by the actualities of life.
By the time we reach the narrative’s finale, it leaves US as the viewer totally appeased and at a beautifully conceived point of conjecture that lingers in our minds afterwards. Music is very well-utilized during the film, as it’s a recurring score that pops up to assist in adding the aforementioned humorous aura to specific sequences. Tanksale absolutely slays it from start to finish thanks to a combination of dramatic flare and slyly executed deadpan comedic sense through her role as Amruta, a housewife who’s had the worst time trying to find marital fulfillment in a marriage that’s anything BUT that, much less confronting the fact she actually has NO time that IS her own. Seeking out a specific–resource–to grab what she hopes will be those otherwise non-existent moments of satisfaction, it would seem it might never come about–or FINALLY will it? It’s a performance that speaks volumes about the character’s dilemma and desperation for–release–and how Tanksale enacts it all is just marvelous and impactful.
Supporting roles arrive first through Khapre as Amruta’s utterly absent husband Ajay who presents a tiresome, patriarchal, dismissive attitude towards Amruta that more than explains why she cannot “get any” much less any OTHER kind of delight or validation from him, hence his total unawareness or caring about any of her real wants in the marriage. Shriya Pilgaonkar, via voice only, appears as Amruta’s friend Siddhi who seems to be the only one who DOES very much understand what Amruta’s vexation stems from and the need associated with it, trying her best to at least help assuage it via some material she sends to Amruta regularly. Srinika Patwardhan plays the couple’s 12-year-old daughter Aabha. Pankaj Avadhesh Shukla appears as a local cable/phone representative who MIGHT just represent the concept of “forbidden fruit” for Amruta’s forsaken desire. Finally, Rasika Dugal also appears via voice only as a voice inside Amruta’s head when she’s reading racy stories she’s sent.
So, in total, make no mistake that “Antarvasna” is a film whose primary gist IS sexual in nature, but again done so in a manner that allows its subject to be seen in a much more understandably justifiable context as opposed to only for the sake of BEING gratuitous, boundary-pushing, or juvenile. It centers on more of real life than many might wish to admit, in that marriage should be about two partners who love each other working to entertain that particular need but also exhibit how that relationship is a mutually beneficial journey in ALL aspects it entails, which IS sadly lacking it feels like more and more. So, perhaps this film could be seen as a cautionary, wholly relevant tale while still providing a measure of entertainment as only indie cinema delivers–bold, unapologetic, grounded, and purposeful.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
