WATCH THE TRAILER HERE
First, the Recap:
What is it that we might leave behind? Will it be a tale of accomplishment, deeds done in the name of something greater than ourselves, hard work that paid off? Will it be an ode to family, to the ones who raised us, gave us values to strive for, challenging us to do better and live larger than they perhaps ever could? Or will it be a grand yet wrenchingly tragic exemplification to one the world’s greatest and most forgotten yet desperately needed gifts–love. In February 2011, Nandigram, West Bengal, the bodies of two young girls are found, victims of mutual suicide, all for the sake of forbidden association. What was found with them would become both personal epitaph and a desolating cry to all about the potency of adoration and price for misplaced judgement. For Swapna (Farha Khatun) and Sucheta (Manisha Bilkis), it was their legacy.
Next, my Mind:
Based on the 6-page note discovered with the bodies of the two girls, titled “My Life” and composed by Swapna, this 52-minute short film effort from director Debalina Majumder, writer Susmita Sinha, executive producer Samar Roy, and producing/distribution organization Sappho for Equality delivers a beautifully affecting, strikingly haunting, disarmingly and compellingly candid, deeply stirring, based-on-true-events dramatization that plumbs the depth of heart–the core yearning and connection–that genuine, abiding love manifests. With a foundational thematic exploration that once more examines the plight of the LGBTQ community and those who are a part of it, this is one of those narratives tied to actual real-life occurrences and, sadly, tragedy that should shake us all to the center of our being and cause us to sincerely re-evaluate the intended equality of humanity, our cornerstone beliefs, and what it will take to see an end to the hatred, resentment, and other malicious forces that would lead two innocents to their far-too-early passing.
Another of the short film projects screened in association with the 2020 I View World Film Festival sponsored by the embassies of India, Canada, Sweden, Netherlands, Italy, Argentina, British Council, and The EU, curated by Engendered Delhi, and in partnership with NYCSAFF, the film’s initial announcement about the story’s base premise then directs the viewer into a fictionalized, but by NO means diminished, journey showcasing primarily by conjecture the factors and encounters leading up to the two girls’ ultimate choice and fate. What makes this so impactful and achingly poignant is the sheer degree of sweetness and utter innocence represented by what the two girls share with each other, all while knowing exactly what their predetermined path and aim is, and all they have to do along the way to hide something they feel totally justified in experiencing and pursuing.
Their road traveled also addresses any number of smaller yet no less weighty and integral concepts like cultural and traditional stigmas directed towards the LGBTQ community, the viewpoint of life through the eyes of virtue, the significance of taking in and existing within every moment together, the loneliness of absence, the realities of attempts made by those who wish to “cure” them, the bitter taste of familial scorn and rejection, the unyielding pull of genuine desire, the seeking and accepting of any kindness they can find while trying to give back some in return, and even the inner release when finally divulging their secret to someone they’ve come to trust. It all melds together and then transfigures into the overtly heartening and heartbreaking reality the story presents, and while we already know the outcome from the very start, it doesn’t make the film’s final moment any easier, so much conveyed in a single, calm yet eerily plaintive glance back.
From a visual standpoint, the cinematography here stands out wonderfully in how it so warmly and with effective intention embraces the two girls throughout, able to emphasize, allow to emerge, and then capture the myriad of emotional nuances the two lead characters display. Likewise, the musical score from Mayukh-Mainak simply becomes another emotive, atmospheric example of just how well utilized the medium OF music is in South Asian cinema, and the combination of it and the imagery truly makes the experience of seeing such a heavy overall story much more palatable. It is more than worthwhile TO point out that despite the thematic bend and again knowing the story’s sorrowful end, there is more than enough moments the film delivers that are so wistful, joyous, and just glorious illustrations of the two girl’s feelings towards each other–longing stares, playful smiles, teasing actions, authentic intimacy, and just relishing each other’s company. Regardless of orientation, folks, isn’t this what love should be?
Khatun exudes such a magnificently palpable level of vulnerability and straight-laced yet loving attitude through her role as Swapna, the more subdued in personality of the two, whose thoughts and reflections on the fated pairing and the mutually arrived at solution they’re pursuing comes out in heartfelt yet sometimes hesitant means via the letter she writes detailing their journey towards oblivion. Yet, underneath the seemingly less “enthusiastic” demeanor lies a soul that so deeply cares for those she is leaving behind, their well-being, and holding them blameless for her soon to be carried out action in the name of a condemned relationship in their society’s eyes. Perhaps it is this measure of naiveté and hopeful thinking that things could possibly change while still inwardly berating the “agitators” that makes Swapna’s character so tragically moving, and Khatun deftly presents both emotional distance and touching tenderness with perfect poise and charm.
Likewise, Bilkis brings a delightfully alluring, quietly and blatantly resonant, fervently impassioned performance to bear as Sucheta, the far more outgoing, boisterous, and flirtatiously mischievous one of the pair who is just as resolute in their endgame but is also trying to gently press in to her more than evident infatuation and affections for Swapna, sometimes to the latter’s apparent “annoyance”. But, the other aspect of Sucheta’s outlook on things also gets brought forth as more harshly realistic, even fully embittered, when it comes to how she sees their families and others having totally turned their backs on the pair’s amorous connection and cast them out, never to be forgiven or accepted. It adds an interesting dynamic and dramatic intensity to their interactions, but again, there’s never any doubt how emphatically Sucheta’s feelings run for Swapna, and it’s this spirited, whimsical persona that so strongly stands out and solidifies the validity of their relationship. Bilkis embodies this with such relatable, equally moving grace and elegance.
Supporting turns are present here from Manisha Adak as Rimjhim, a random woman (actually a journalist) the pair encounter on their travels who takes them in for a spell and shows them kindness but could potentially expose them as well, Goutam Mukhopadhyay as Naren, an older man whom the pair end up aiding and become guests in his home along with his wife Nafisa (Soma Sarkar) and a young man living with them as well named Bikash (Amit Saha). Kaushik Roy also makes appearance as a friend of Bikash’s. In total, “If You Dare Desire” becomes yet another example of artistic, undaunted, fearless cinema, transcending its baseline thematic core and offering a much more universal appeal to the world to take an absolutely necessary look at the notions of what it is to give love, be loved, treasure and value closeness, drink in life, and unconditionally offer equal understanding to all. Yet, it is also a sobering and cautionary tale that should resound within our minds as to what price hate, bigotry, and misguided judgement can bring.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
