Indie Film Review “Danny Goes Aum” A reawakening of life, creativity, reconciliation, love, and soul in the heart of Goa
WATCH THE TRAILER BELOW:
First, the Recap:
When the frustration at our station in life becomes king, the load of it doesn’t take long to overwhelm, frustrate, and discourage us. We know what we already have and acknowledge the ability to accomplish what we desire, yet it appears the world comes against us at every turn. When we’ve reached that place of total isolation, even if just within ourselves, are we willing to do what it takes to rekindle and renew all that is required to find happiness once more?
For passionate but now embattled, overworked video editor and aspiring screenwriter/filmmaker Danny (Andrew Sloman), existence has become nothing but an exercise in tedium and building inner torment. With a project he is encountering overt, perhaps even harshly undue, scrutiny with and a girlfriend Divya (Divya Sharmaa) excelling, Danny soon finds himself “escaping” to the peace of Goa, where confronting expectations and yearning to reconcile his past leads him to meet unanticipated new muses in Lucie (Marianne Borgo) and a visiting Indian girl (Anjali Patil).
Next, my Mind:
Remembrance, inward revival, refreshed perspectives, longings for genuine love, and a release from burdens both self-imposed and from the past all converge with dramatically grounded and wholly relatable, poignant, and evocative power through the 104-minute indie feature film from writer/director/producer Sandeep Mohan, executive producers Ryan Bury and James Andrew Felts, plus associate producers Sachin Gandhi, Abhilash Nanda, Anjali Patil, Cauvery Adigna, and Neena Kiss. This critic had previously reviewed one of Mohan’s other feature film efforts, 2017’s “Shreelancer“, and just from that viewing experience, I felt and witnessed the same degree of engagement, character-driven story focus, and thematic explorations that that film presented but in an even more credibly affecting manner this time around. As far as I am concerned, that’s a testament to the evolution and growth of a filmmaker whose consistent passion is to keep improving.
Following the journey of a young man simply wishing to redefine and recenter his currently wayward mindset and aspirations who ends up encountering these goals in a different way than he ever saw coming, I just love the uncomplicated nature of the narrative’s execution and its ability to draw you into this character’s reality with ease and logical paths towards resolution of his dilemmas. It becomes another example of taking on foundational premises that we more assuredly have seen before but making them accessible and just plain human, hence ushering in the aforementioned atmosphere of relatability combined with initiating a sense of empathy and emotional resonance that so beautifully befits this kind of dramatic film. Additionally, there’s a specific factor to the events we see unfold that, at first, seems like “a given” as to what the final result will be. Yet, the results may NOT necessarily be “what we expected” and it also totally fits here, making the approach a little fresher as it were, rather than just taking what most might consider “the norm”.
Yes, I am being purposefully vague with that above, and why, when possible, you need to watch the film to get the more detailed gist of what I am hinting at. What very much aids in the film’s presence is the glorious cinematography that captures the “urban”, rural, and gorgeous coastal vistas that the raw wonder of the State of Goa–it’s beaches, tucked away bays, lush landscapes, and just the grander aura of peace and tranquility–encompasses. Again, this suits this story to a “T”, as the locales utilized in the span of the narrative all serve as physical embodiments of Danny’s travels through his own mind and spirit while seeking the answers and the emancipation in life, career, love, and what’s passed that he’s searching for. Another more unique facet of the film is that most of the songs (not all) employed were written by and performed by Sloman himself, which once more fits given the actor’s IRL musical pursuits and his character’s story. The tunes, as well as the film’s underlying score, are totally in synch with the ambiance of the film, and provide, as so many South Asian films do, that added layer of emotive punch to the scenes in which the music is used.
As is often the case, and what I love about indie cinema, the core themes only establish the baseline points for the film to then expand upon and/or add to as the narrative moves forward. Here, notions of needing to re-learn our direction/purpose, facing our fears, seeking new inspiration, the bounty found in memories, comprehending our history, origins, and familial legacy, how grieving can actually become an excuse or an unhealthy, borderline selfish crutch we lean on instead of truly dealing with it and its cause(s), being open to learn from others in surprising ways, and coming to terms with the fact that, sometimes, things may not work as we expect, but that this isn’t a BAD thing are all thematic tangents we witness throughout the film’s runtime, and HOW it is all expounded upon carries beyond just the surface to even spiritual depths, at least to a certain extent. The finale of the film potently hits home on multiple levels, with equally strong magnitudes of significance paired with a definitively rational direction Danny’s story takes, bringing you as the viewer that sense of completeness while also contemplating what comes next for Danny.
Sloman sets the stage for his character’s trials and triumphs excellently, with a combination of understatement plus simmering intensity of emotion leading the way, and via an ongoing quality that remains so consistent in indie film…the “everyman”. Danny is a man besieged by both his own inward conflicts and the situations surrounding him personally and through his career goals, seeing no immediate ways any of it will improve. Finally at a point of total agitation with everything, he chooses to take flight to Goa, where his parents originally met, and undergoes an affecting, restorative, transformative process fueled by two other people he meets that speak into his life with purpose and newfound joy. How these individuals shape his ultimate experience is what drives Danny forward, enhancing his creative and inner processes, enlivening him to reality again, and opening him up to the concept of love and being accepted again. Danny is simply a character you cannot help but root for, wanting him to find peace, success, and momentum in his journey, even if it sometimes involves pain and release. Sloman brings all of this to life with absolute credibility.
Patil lends an equally potent, sublime presence to the story’s intent and inertia, delivering us a character that is not remotely “just another pretty face”, but rather a beautiful, charming, guarded yet vulnerable, soft-hearted yet independently strong, integral catalyst for change-inducing factor in Danny’s, and her own, narrative as the character of the Indian girl. Never revealing an actual name for her lends an almost enigmatic nature to her, even as the initial way she meets Danny and the reasons he was first drawn to her come about. Given why she has ventured to Goa and the trust that she feels safe in extending to Danny gets revealed, the closeness their shared and separate circumstances elicits is a tangible, palpable force that makes you long for what would appear to be birthed between them. As with so many aspects of this story being presented, how the relationship will develop remains to be seen, and with a wonderfully delightful mix of humor, sass, innocent allure, and believable charisma, Patil guides the anonymous character with poise, grounded elegance, and winsome, undeniable appeal. I date you NOT to fall in love with her.
Borgo becomes one of the most magnificent, entertaining, deeply stirring, and dynamic influences to come into Danny’s path through her role as Lucie, an older but wholly vibrant woman who’s come to Goa for a similar foundational reason Danny has…to be where she and her now-deceased husband first met. Reveling in their story and all the elements of it that Lucie chooses to entertain Danny with, she truly kickstarts his creative resuscitation with flair and some forthright flirtiness! Borgo certainly showcases a veteran actress’ talents her with whimsey and dramatic appeal. Sharmaa’s Divya could almost be construed as Danny’s current form of figurative kryptonite, his doting and fully devoted girlfriend whose own blossoming career and associated ambitions are suddenly not gelling so well with the funk Danny is currently in at first. With it potentially becoming more and more evident her tolerance of this may not allow them to find total happiness, Divya’s need to return to London could spell the end. I love the fact that Sharmaa so authentically displays this dichotomy of feelings and decisions her character is bearing and making.
Additional primary supporting appearances are made by Avinash Kuri as Shiva, a local friend of Danny’s who is both confidant and travel arranger for him as his adventures take off, and Eunice Wlcek as Ellie, Danny’s boss/agent who’s trying her level best to get Danny out of his place of misery and back into a state of control and artistic success. Additional appearances are made by Susan Trimble, Arjun Shresth, Ved Prakash Dubey, and the film’s director himself, Sandeep Mohan. So, in total, “Danny Goes Aum” is a quintessential character study addressing the millstones and merits found in our lives, the things we need to accept, adjust to, balance out, and move forward with, and how, sometimes, we need to allow others to be those necessary voices of persuasion and support that allow us to press on constructively and with renewed understanding of exactly who we are.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
Sometimes, a film doesn’t need to be grand or loud to leave an impression—it simply needs to be honest. “Danny Goes Aum” , is one of those rare creations that quietly settles into the heart. The story unfolds with a gentle pace, carrying with it moments of stillness, laughter, and reflection that invite the audience to breathe along with it.
What touched me most was the relatability of the journey. There were scenes that felt like conversations I’ve had with myself, questions I’ve quietly carried, and silences I’ve often embraced. The acting felt natural, the dialogue delivery was done done so perfectly. The cinematography was subtle yet soulful—each frame seemed to hold an atmosphere of simplicity and calm.
The direction deserves appreciation for not forcing drama, but instead allowing the film to flow like a river, carrying emotions softly yet steadily. This is a film for those willing to sit with themselves for a while.
In its humility, the movie teaches that beauty lies in groundedness. It is a piece to cherish quietly, perhaps with a hand on the heart, letting its resonance linger long after the credits roll.