WATCH THE TRAILER HERE
First, the Recap:
Avowal. Within us might reside a secret, a hidden truth that we’ve maintained for indefinite amounts of time, striving to get free yet pushed down, chained, as we are unwilling to allow it the freedom of being exposed. Yet, as more time passes and circumstances arise which once more knock on that specific door, the question then becomes–will we finally choose to open it for all to know? And at what cost? A young man named Biju (Kamal Lochan) prepares to leave his family home once more after what seems an extended visit. Yet, his father (Arun Nath) slowly begins to prod Biju for what the future may hold for him, especially marriage. As tensions build, an answer arrives that will forever impact their lives and bond.
Next, my Mind:
Merit, much less worthy and necessary statements about who we are as human beings and the relationships we seek to embrace, can be found in the most uncomplicated, straightforward, and quietly profound cinematic instances, which this critic found to be the case through the 13-minute short film effort from writer/director Gaurav Boruah, director Prajnyan Ballav Goswami, writer Prandip Dastidar, and executive producers Sajida Sharma, Sanjay Bhutiani, and Shubhashish Bhutiani, screened as part of 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.
Choosing to travel a narrative and thematic path that’s been explored more and more in South Asian film over the last several years since a momentous decision was passed back in 2018 involving Section 377 of India’s Penal Code, this story that follows a son’s initially crushing admission to his traditionalist father carries with it the same amount of tension as other stories of similar topic, but does so in a way that very much grabs the viewer’s heartstrings through calmer, more nuanced means that summarily draws us in to a tale of coming out with engaging emotional connection to the characters both as men and father/son, adding a dimension of tangible relatability that further enhances the film’s cornerstone intent while providing beautifully created, affecting drama, culminating in an equally stirring finale that speaks volumes.
Additionally, there’s a magnificent utilization of recollection applied to the two men’s ultimate confrontation that also places a deeply meaningful message about the underlying power of familial bonds, and illustrates how this can transcend custom and cultural expectations, instead simply steering back to unfettered love for a son as only a father can treasure. Combine this already potent degree of simmering sentiment with the absolutely gorgeous scenery in which the latter part of the film unfolds and it serves to drive all the purposes of the story home even more given the significance it plays beyond just being pretty landscape. Even how, I felt as the title would indicate, the wind itself was a muted yet present “character”, and it all lends an almost poetic air to the proceedings, carrying a world of precious memories old and new away. Add to this the atmospheric and moving vocal and guitar-drive musical backdrops and it only further enhances the story’s reverberating essence.
Nath exudes such a natural, fully accessible genuineness through his role here as the father, a man immersed in concern for his son, perhaps even to certain levels an extension of his unseen wife, though he tried almost desperately at first not to be a nagging parent. Only wishing what any parent should want for their child–success in life and a legacy to carry on–the father begins to push a little harder to discover his son’s hesitancies until it ends up virtually forcing it out of him, and the revelation changes their entire dynamic, but not necessarily in the ways one might expect from what happens in the aftermath of a hidden truth. It’s one of those performances that requires an “everyman” demeanor to give it credibility, and Nath strikes this nail on the head with his subdued but passionate performance.
Likewise, Lochan does a wonderful job at being the loving but decidedly frustrated son Biju, a man finding his own way in life and already having defined himself personally, but not having expressed it outwardly to his parents, most likely knowing how they would react. Yet, as the dialogue between his father reaches a boiling point, Biju cannot stand to be silent anymore and lets his secret fly, bringing things to a standstill. However, the ensuing moments that follow become not only cathartic for both of them, but unexpectedly healing for Biju who certainly felt he would now be on the complete outs with his family because of his choice. The final moments of the film carry such poignant, heartening resonance and Lochan aids so much in the power of the scene through his performance.
So, in total, “Silence In The Wind” becomes yet another example of a film that, in my opinion, speaks well beyond its foundational LGTBQ premise to the qualities in family we would all desire to experience–unconditional love, support, acceptance–even when the decisions we make may not always be agreed upon by everyone. To me, it’s a lesson this world as a whole needs to embrace that even IN disagreement, it doesn’t have to lead to hate or anger, but logical, civilized understanding and a willingness to talk it out with mutually beneficial temperance rather than throw it out with embittered malice.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
Thank you for a wonderful review, we are glad you liked this very simply executed heartwarming film but at the core it has a string message on the taboo that exists in our society.
Such a wonderful feeling when someone relates to your vision. We are grateful for the time and effort that you have put into writing this beautiful review. Thank you!