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First, the Recap:
Lamentation. With any circumstance that elicits this sometimes crippling feeling, how we cope with it becomes key. Key to either finding the ability to move on or, on the opposite end, becoming prisoner to our sense of what part we played in coming into such a state of being. Which option we go with determines the path traveled for not just the now, but possibly for the rest of our lives. Aysha (Sangeeta Agrawal) has found herself in the midst of such an internal dilemma as she sorts through the tangles of a recent event. Leaving her home via cab to visit specific places of relevance to the situation at hand, it is apparent the road will bring healing–or startling revelation.
Next, my Mind:
I can think of no better way for my coverage of the week-long 2020 Storytellers Film Showcase online event presented by Storytellers to begin than with sharing thoughts on the world premier of this brand new 17-minute short film effort from director/editor/cinematographer Mansoor Ahmed and writer Hema Ahmed. A total example for this critic of the ongoing high level of narrative brilliance found in much of independent South Asian cinema, the tale of one woman’s emotionally volatile journey has thematic explorations both subtle and intense, all carried out with very cleverly conceived visual execution designed for maximum impact on the viewer.
What appears initially to be a story centered on just the concept of recollection, its potency, and how it influences our lives in any myriad of ways when we are forced to face life through its tangibly affecting times as well as trying ones, the effort then diverges with an intentionally slow-burn delivery that leads us down a totally different rabbit hole, culminating in nothing short of a totally magnificent, wholly unanticipated finale that puts such a new and more blatantly impactful resonance to the tale in all the best ways. It is overall execution like presented here that is what marks the encompassing beauty of indie cinema for this critc, and I fully applaud the creativity and intelligent writing here for that.
Additionally, the visual staging of the film is another of its perfectly chosen aspects, for it relies solely on images and music, with no actual on-screen dialogue, to carry its message and purpose. This is no easy feat, but I have personally noticed more and more filmmakers venturing into this style, and when done right, it really does work. Requiring a dimension of investment to the story for the viewer that makes one think about what’s being portrayed, piece it together, and actually feel what’s occurring, as opposed to relying on spoken dialogue to carry things along, there are voiceovers utilized which do enhance the circumstances and bring certain context here. It IS done right here, and all the necessary emotive elements exist to engage us, no words needed.
The other challenging component of a film brought to life via this methodology is placed on the actor (or actors) who now have to evoke all the imperative, essential qualities of their respective character(s) in a manner that conveys strongly what is being represented without speaking a word. Again, not a walk in the park. Here, Agrawal fully immerses us in her onscreen persona’s world with understated ease, quietly yet palpably fervent, haunting gravitas, and complete believability as Aysha, a woman experiencing vivid self-discovery through searching the past to find much needed solace, though from what exactly remains enigmatic. What it all leads to is stirring and jarring, with Agrawal adeptly showcasing the poignant vulnerability of her character with precision and grace.
The use of body language and facial expression is paramount here, and likewise done with effective resolve, another credit to Agrawal’s acting. The only primary on-screen supporting role is given by Rajiv RJ Paul as the cab driver who takes Aysha on her personal odyssey. Voiceover talent, no less important here, is provided by Sri Mirajkar, Saisha A. Vyas, Stuti Banerjee, Subhankar Banerjee, Chetna Gola, Hema Ahmed, and Neeta Datt. So, in total, “The Dig” is a multi-faceted, wide-ranging voyage about heavy grief, the weight of the past, seeking solace, and the secrets we keep which can cause us to be in desperate need of redemption or, perhaps, just obligated to simply do what’s right.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
