WATCH THE TRAILER HERE
First, the Recap:
Whether we wish to own up to it or not, there’s always a lingering desire within us to believe we know much more than we really do. This might become especially apparent when it comes to seeking enlightenment and response to all the questions we have about our lives, who we are, the purposes behind what we witness occurring in the world, and therefore gain an inner peace to resolve it all that seems to remain elusive. In this quest, though, do we end up finding it all becomes an exercise in fulfillment–or futility? An isolated, nondescript, mostly barren shoreside landscape is the backdrop for two weary, rather befuddled men, Humpty (Ahmed Rubel) and Dumpty (MD Shahadat Hossain), on a journey to unearth desperately sought answers, encountering interpersonal conversation and external circumstances that only seem to stifle and complicate their aims while they also hope to achieve a primary objective–meeting “The One” who possesses all the knowledge they want.
Next, my Mind:
This is experimental cinema at its finest, most likely taxing the patience of the uninitiated filmgoer unfamiliar with the quirky, off-beat stylings of said genre while honestly fascinating those who are willing to bear with it, delve deeper into precisely what the effort is based on, allow it a chance to really sink in, and then simply relish the fact that independent film is an open playground for the fearless artists behind it. These are the thoughts that first come to this critic’s mind when we’re speaking of the 54-minute South Asian short film effort from Bangladeshi writer/director/producer/editor Ahmed Tashin Shams that finds its inspirations from the writings of Bengali spiritual leader, mystic poet, and social reformer Fakir Lalon Shah as well as its foundational overall premise from the famous Samuel Beckett play “Waiting For Godot“. It’s this literary/theatre-centric basis that is truly required to form a better concept of exactly what we are witness to in a bizarre (but in view of stated facts-understandably!!), brilliantly stupefying exercise.
Now, even while one could then attempt to directly and/or exclusively extrapolate the notions and narrative direction associated with the work the film is birthed from, I found it much more engaging to instead seek out and formulate what I felt the story being presented offered through a narrative which sees two men stuck within an arid seaside wasteland having nonsensical conversations between each other while also running into random strangers (and sheer, undisguised strangeness!!) while trying to discover “The One” whom they have been waiting for. At this juncture, all I can really say is that the viewer is entreated to a visual cacophony and a multitude of thematic explorations encompassing metaphor, philosophy, religion, veiled social and cultural references in relation to the state of the world, and views of reality both metaphysical and existential. Additionally, there’s just a boatload of outright absurdity that was assuredly baffling–until you once more recognize that it’s EXACTLY what’s intended and purposefully delivered.
Is it the absence of God being debated? Or perhaps a portrait of our human nature in wanting answers, hungering for knowledge while fighting disbelief and doubt in searching for it. Maybe it’s an image of how lost and desolate we have become both AS humanity and individuals within it, sometimes HAVING what we seek right in front of us yet still missing it. Are we still slaves to the burdens of life itself, allowing it to master us, prod and control us, causing a yearning for freedom that, when given, only then promotes us lamenting the mental torment in ascertaining our plight, having no sense of hope there will ever be an end? Is it an odyssey to claim relevance, self-awareness, a better path of satisfaction or gratification? Again, folks, this is only what kinds of areas this critic felt were being looked into here, and it all does strike me as a deeply pertinent illustration of how chaotic (or straight-up irrational and silly!) our current actuality is, and the need to find resolution from whatever we hold AS ‘The One” just keeps confounding us.
As hinted at above, visually the film is just as peculiar and unconventional as it is actually quite simplistic. But, as with the narrative itself, this is the POINT, and therefore we’re offered imagery that hones in on some of the predominant themes from the play its based on while also, I felt, leaving things open for one’s own interpretations. The sheer starkness of the setting is jarringly unsettling–is this REAL–is this a visualization of the character’s inner mindscape–which only adds to the atmosphere being conveyed, suiting the film well throughout. Now, when it comes to the two main actors present here, it is a wonderful and undeniably effective study in contrasts, beginning with Rubel as the more “serious” of the pair Humpty, a man clearly on a set quest, exuding a determination to follow whatever path is needed in order to earn and procure the necessary cognition to make his path clear and consummated.
A no-nonsense, steady in demeanor, and very long-suffering individual given the company he’s having to keep and speak with as his only companion, Humpty holds desperately onto faith in the shared hope of finding “The One” who will become the source to explain all that is and that he is struggling with. Rubel remains perfectly astute in his portrayal of such a devout yet likewise wavering-in-spirit man, and the inward turmoil the character is experiencing is deftly presented by the actor through his performance. To the same degree of impact but on a totally different plane of attitude we find Hossain as Dumpty, pretty much a person who is the polar opposite of his fellow traveler in that, well, he’s a fool. While also looking to locate “The One”, Dumpty tendencies lie in being of a goofy foil to his compatriot, very consistently acting in a more aloof, carefree, and zany way in almost every encounter and point of conversation (and at times contention) the two come across on their sojourn.
Honestly, though, it is this comedic element injected into events that enhances the viewer’s engagement, and it could even represent further two sides of our being when searching for something profound via the more stern, solemn attitude vs. a playfully ignorant one, which Dumpty represents so fluidly and unabashedly here. He may TRY to be voice of wisdom, but it ends up mostly being plain gibberish. Hossain enacts this character’s zaniness entertainingly and with plenty of bravado. Supporting appearances are made by Badal Shahid, Sh Saad, Mousumee Mosharrof, Hossain Mohammad Belal, Shokot Siddique (who admittedly does some excellent scene-stealing as a slave who has some things to proclaim rather–emphatically–when initially set “free”!!), Jayita Mahalanobish, Tanvir Mahmud, and MD. Iqbal Hossain. Each satellite character they play is integral to the story’s plot, but would rather leave it to you to watch the film to see precisely how so as not to spoil anything.
In total, “Arshinagar (Reflection)” without any hesitation, firmly holds true to its essential root source material and the spirit of Lalon’s writings that inspired it, yet leaves things open for a viewer to make up their own minds as to what they’re witnessing, gleaning from the narrative any relevant lessons (even if OBSCURE in the manner depicted) that may apply, and just reveling in a fine example of experimental indie cinema. It certainly won’t be for everyone thanks TO its overt magnitudes of seemingly illogical folly, yet this critic would say give it a chance, because doesn’t the allure of what’s far out there and WELL beyond the mainstream therefore so compellingly illustrate what filmmaking IS all about anyway? ART.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
