WATCH THE TRAILER HERE
First, the Recap:
The specification of self. We strive to distinguish who we are, to really ascertain the deeper understanding of exactly how we see the individual we’re meant to become. Yet, what happens when the light reveals those facets of our being that cause us to hesitate, not wishing to embrace them, for to do so would mean having to do the one thing we so often resist–let go. Tina (Gayatri Patel Bahl) is a woman in conflict. Despite sessions with her counselor Jane (Sarah Baskin), Tina continually faces an apparition both beautiful yet undeniably unsettling. As events unfold, Tina is forced to confront it. But, the results may be more surprising than she could ever expect.
Next, my Mind:
There’s a wonderfully orchestrated, captivatingly unanticipated melding of genres that occurs within the 10-minute short film effort from writer/director/executive producer/editor Gayatri Patel Bahl, creating a highly affecting atmosphere that evokes and visualizes haunting eeriness, internal release, and dramatic redemption, all while being the effort kicking off the first ever 2020 ECSA: Escapist Cinema of South Asia online film festival, presented by Jingo Media and sister festivals DFW SAFF and NYC SAFF. What this critic continues to adore about South Asian cinema is its abiding ability to reflect the human condition in such impactful, relevant ways so as to leave the viewer with not just a sense of having been entertained, but with lingering effects and notions to contemplate and, perhaps, even apply to their own lives.
I felt that was most assuredly the case here as we see the narrative about a young woman’s tumultuous struggle with her inner demons and desperate seeking for inner emancipation, self-acceptance, even renewed value, all come pouring forth in both magnificent and unsettling ways. But to be able to truly dig deep and find the fortitude to fight against such strongly entrenched concepts of how we see ourselves, how we feel we fall short, and to simply believe we’re worth something is no easy path to trod, and how the film so deftly depicts that makes the journey we’re taking with the character equally harrowing and freeing for us as well. The realities of how we can have unhealthy obsession with self-perception emerges here, making us realize there’s only that one solution–defy, resist, attack, and conquer.
As we watch a world around us in such turmoil during this contemporary age, I always feel films with this thematic tilt need to be shown, need to be digested, by as many of us as possible. Without knowing ourselves or what greater possibilities we can achieve, we will continue to be held prisoner like this character, filled with fear, doubt, and dare I say even self-abuse in some form that will prevent us from breaking out and experiencing the wonder of who we are. The visuals presented in this film so effectively illustrate this, utilizing the dark, the shadows of what torment us, almost horror-like, as a backdrop to ultimately uncaging all that’s pent up and that finally explodes in a rage of emotional deliverance. It makes the film’s finale that much more triumphant in its significance, and something we can all relate to deeply.
Bahl is honestly mesmerizing and so overtly accessible as Tina, a woman of strength and intent who’s overwhelmed by consistently beleaguering visions and sounds which cause a restlessness and frantic mental state she cannot seem to overcome. Despite her best efforts and reliance on counseling, nothing seems to assuage the inner storms she paralyzed by. Only through a sudden, blatantly disturbing series of moments does she potentially locate the road to rescue in a way that only she can appreciate the value of and the self-realization that comes from it. Bahl embodies Tina’s distraught state of being with soul-stirring, emotive, expressive believability, and her dancing abilities are likewise on display to beautiful effect here as well, adding even more poignancy to the character’s plight. Excellence in performance.
Supporting turns are made here by Baskin as Tina’s counselor Jane, who’s desire to help her client overcome the strife is perhaps sometimes tainted by said client’s seemingly increasing instability after supposed progress is made, Shalini Bathina as the Dancer, a gorgeous yet chilling presence that maintains her hold on Tina and won’t let her find peace unless her quarry realizes it’s time to fight back, and Surina Jindal as Tina’s friend Sam. In total, with its needed, necessary core essences focused on mental health and the depth of importance found in self-acceptance, “Tina” is a powerfully executed dramatic fantasy that more than deserves a time to shine that it might reach the masses and touch us all in a way that’s so imperative and essential not only right now, but always.
As always, this is for your consideration and comment. Until next time, thank you for reading!
