WATCH THE TRAILER HERE
First, the Recap:
When it comes down to it, is there really anything more entertaining and gratifying than a well-made movie? Not just ANY movie, but one that so deeply immerses you in other worlds, realities, mindsets, emotions, all blended together with such skill, you forget you’re still right here, in your theater seat or couch at home being swept away. That feeling of escapism seems distant and forgotten when we don’t even take the time anymore to truly let ourselves dream. Nine-year-old Samay (Bhavin Rabari) only knows the simple rural life of his small town of Chalala, aiding his father at the local train station while nursing a highly imaginative mind. Then, upon a rare visit to the city for a movie with his family, Samay’s eyes are opened to an amazingly refreshing realm of fantastical realizations that soon he is pursuing with every fiber of who he is and wishes to be. The only questions that remain–will destiny allow him to excel, or will the harsh truths life can bring keep him stuck in an unfulfilled future?
Next, my Mind:
Folks, I am going to start this off with a big statement of profound affirmation regarding this 112-minute indie feature–THOSE who are genuine FANS of film, dreamers and creatives aspiring to MAKE films, or are already IN the business of producing them–WATCH THIS MOVIE, because it IS for YOU, unequivocally, no exaggeration! An absolute diamond in the ever-expanding (THANKFULLY!) universe that is independent cinema, this effort from writer/director/producer Pan Nalin, producers Marc Duale and Dheer Momaya, co-producers Eric Dupont and Virginie Lacombe, plus executive producers Hemant Chaudhary, Yash Gonsai, and Shubham Pandya soars so very high on keenly brilliant, powerfully convincing, indispensably necessary wings that drives home with compelling tenacity the very HEART of what it is to understand, appreciate, and seek out the utter beauty that cinematic pursuits can manifest within us.
Having its Dallas Premiere as the closing night film screened for the 2022 DFW SAFF (where the film took home Best Director and Best Child Actor awards) sponsored by Toyota USA and hosted by Jingo Media Founder/Festival Director Jitin Hingorani and Artistic Director Ambica Dev, these potent sentiments are communicated with such a deft level of execution on every level through the film’s narrative that sees a young boy from a small country town in the Amreli district of Gujarat granted an unanticipated and immensely eye-opening experience via seeing a movie (much less in 35mm!) for the first time (and possibly the last if his traditional father has anything to say about it). The events launch forward from this singular instance and propel us into an entirely stirring thematic portrait rooted in revelatory inspiration than then goes all out to encompass heartfelt joy, the innocence of youthful rebellion, the strength of resolve, the affirming value found in the bonds with those who sincerely support us, and embodying a fervent but healthy obsession with our passions that we will chase them no matter what it takes in order to persevere.
There’s also such a delightfully heartening tapestry consistently presented of the astutely inventive mind at work through the film’s lead character, and it lends an inescapably exhilarating atmosphere to the story as it unfolds, watching the revealing of a visionary curiosity, expressiveness, and hunger for learning and applying put to work. Now, what I also greatly give credit to here is that the film does NOT turn a blind eye to the obstacles, frustrations, defeats, and ramifications of it all that CAN and DO arise when we’re chasing something this ardently, and the writing here assuredly addresses this with intense purpose in order to show when necessary that this IS reality, where things may not always work out the way you had planned, but that in view of it, you have the choices to make to either let it derail you or becomes the catalyst to keep going and overcome it. I personally never get tired of seeing this style of narrative, as it is what makes indie film so often relatable to us as human beings and our own journeys we’ve experienced along the way. The methods by which the film employs both drama and humor in balanced harmony is essential to the aura the film elicits as well.
Additionally, as this critic keeps forging ahead in a love for South Asian film, the odes to classic efforts, actors, and directors depicted throughout the proceedings was simply awesome to see incorporated the way they are, and only makes sense given the foundational gist of Samay’s adventures. Also, it is the not-so-subtle, wholly intentional reminder of how our times have changed, and this portrayal of the often immovable, unrelenting force that is modernity and the subsequent lessons it brings with it in this narrative’s context are affectingly sobering, almost amounting to witnessing an act of proverbial mass murder early in the third act, and leading to a finale that will influence your emotional state with, for this critic anyway, thunderous resonance in both a heartbreaking yet dramatically stimulating way. Will it be the passing of dreams or a harbinger of renewed ambition? Honestly, there is SO MUCH MORE I could unpack about this, but I more than feel what I stated above–WATCH the film as soon as possible to realize the further extents of messages this film conveys!
Visually as dynamic as the story itself, the imagery here is just epic, enhancing every facet of the story in both blatant and subtle manner, aiding fully in drawing you into the fray with full-on, steadfast objectives in mind. Beyond this, the music plays an equally important part throughout the film as well, both in the movie songs heard, but also in the background score that adeptly emphasizes the events with apropos poignancy. To say Rabari is a unquestionable marvel here would be a distinct understatement, as still AGAIN this critic gets floored by the skill level and magnitude of acting maturity the young actor brings to the film in his role as Samay, a boy whose entire notion of reality gets radically altered when he sees a major motion picture for the first time, launching his already inventive mind into a higher plane of excitement and dogged determination to become a filmmaker. Despite the serious pushback from his traditional father but gaining support from others who recognize the potential he has, Samay’s journey hurdles forward.
Yet, even as his endeavors seem to be yielding all the results he might wish for, life rears up and places a serious number of mountains in his way, causing Samay to reassess all he is wanting to be about. Watching the character get taken through such a magical but formidable odyssey by Rabari is purely irresistible, fascinating, captivating, and an all-out winning undertaking, an outstanding performance well worthy of notice! Dipen Raval plays Samay’s father Bapuji, a proud, traditionalist, hard-working man whose job making tea at the train station more than seems mundane to his clever son who wants so much more. His unwillingness to believe in Samay’s pursuits yet having to face an uphill battle to stop it becomes a key focal point in the story, and how Raval traverses the volatile path the character takes is perfectly done. Richa Meena is Ba, Samay’s authoritative but totally doting mother who slowly but surely begins to understand her son’s dreams and desires, wishing to encourage them even in light of her husband’s refusal to follow suit. Meena’s calm, collected, loving demeanor as portrayed through the character is uplifting to witness.
Bhavesh Shrimali turns in a wonderfully unwavering, entertaining, heartwarming, purposeful, quietly impassioned performance through his vital role as Fazal, the projectionist at the movie theater Samay attends his first film at and who, thanks to a little “business arrangement” he concocts, becomes the primary individual to aid Samay in furthering his filmmaking aspirations. Rahul Koli, Vikas Bata, Shoban Makwa, Kishan Parmar, and Vijay Mer add an air of mischievous fun and pertinent sway as Manu, Nano, Badshah, S.T., and Tiku, Samay’s de facto “posse” from Chalala who end up completely and enthusiastically caught up in Samay’s aims while being, in certain ways, unexpected voices of reason for him as well. Additional appearances are made by Tia Sebastian, Paresh Mehta, Alpesh Tank (in a part that pays needed homage to teachers and their relevant impacts on us), and Vidita Mehta among a host of others.
So, in total, “Last Film Show” deftly presents the sheer majesty of cinematic perspective, it’s creative flow, and implementation of concepts combined with the unmitigated dominance and undeterred, extensively DETERMINED element that is the human spirit when it comes to seeing what we’re impelled to pursue, advocated for to achieve, and willing to seek regardless of what tries to hinder us. This is a fitting tribute to what filmmaking is SUPPOSED to be, the artistry it is SUPPOSED to engender, and the generations it is SUPPOSED to awaken through the worlds it can transport us to and through. And while the 35mm arena may have long since passed on, it should NEVER be disavowed, nor should the core heartbeat of this form of expressiveness remotely be lost–instilling a sense of awe and wonder. Let’s hope THIS incredible film will NOT be OUR last!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
