WATCH THE TRAILER HERE
First, the Recap:
The validation of being wholly cherished. If we are to seek the worth we have as an individual, much less as a human being, there is a definitive sense that comes about when we receive such acknowledgement through those closest to us. This notion can especially be applicable through established bonds between parent and child. However, if the realities surrounding us weigh against that which we make the efforts to support and give voice to in order garner the respect for them we hold ourselves and believe should be, can we face the potential consequences of still choosing to go against it? Abida (Esha Deol Takhtani) has deep love for her daughter Dua (Barbiee Sharma). Each day is a chance to show this, even as she, her husband Sulyemaan (Rajveer Ankur Singh), their son Faiz (Nick Mukesh Nag), and mother-in-law Rehana (Sunita Shirole) confront the family’s tension due to building debt as Eid approaches. But, underneath the surface of what appears to be lies a darker secret steeped in the name of deep-seated custom, expectation, and harsh intolerance.
Next, my Mind:
As this critic has found through watching many South Asian films over the last six years, the utilization of particular societal truths within the context of fictional narratives is a common and, for me, uniquely eye-opening experience that not only teaches us something as we view a given story unfolding, but also allows for some very unflinching, unapologetic, and hard actualities to be presented, more so when done by indie filmmakers who, as a community, are unafraid to make highly bold statements. This said, that was unquestionably the case with this short film effort from writer/director Ram Kamal Mukherjee, writer Shonet Anthony Barreto, producers Esha Deol Takhtani, Aritra Das, and Bharat Takhtani, along with executive producer Sudhir Baliram Nimbre that had screenings during the 2021 Virtual South Asian Film Festival presented by Toyota, supported by AARP, produced by Jingo Ventures, and in association with DFW SAFF & NYC SAFF.
Through a story that, foundationally, follows a family in struggle as their less than good financial situation is hindering the marital relationship and putting pressure on them as the Eid holiday is about to arrive, the tale then takes a more specifically guided tangent that sees a mother’s unwavering, unyielding, wholly abiding love for her daughter and everything she is willing to do to ensure that she gets the love and attention she seems to so often be left out of in favor of their son. So, with the thematic baselines hovering around money, inner personal strife, love’s broken state of being, and familial obligation to start, a drastic and completely unanticipated twist in events begins to be revealed and by the film’s utterly gut-wrenching finale, we have been given a painfully impactful perspective on staunch cultural traditionalism, fractured belief, and the burden of a torn soul, displayed with such emotionally jarring potency you WILL feel the reverberations cascade through you.
As if this wasn’t enough, there’s an astoundingly heartbreaking capstone statistic offered before the end credits that just further emphasizes the issue at hand and it makes you shake your head and wonder how this possibly still remains intact. It is about expectation and traditions in the face of total devastation, which only makes the film that much more compelling and evocative. Furthermore, this just becomes a larger testament to the masterful level of filmmaking prowess this critic feels the effort represents, as the visual presentation and execution alone plays such a key factor in just how profoundly it all hits you as a viewer, building and building until its punch-in-the-gut climax. There’s even a certain mainstream Hollywood film that I wish to draw an unambiguous tie to when it comes to the exact level of jolt the film achieves, but I feel that would potentially give things away, and this site, to the best of this critic’s ability, shall always be a “NO SPOILER” zone.
This was my first time seeing Deol on screen and to say the least, she leaves quite the affecting impression on you through her role as Abida, a woman whose determination to see her family survive the monetary struggles and other travails they’re encountering is perhaps only overshadowed by her absolute adoration she holds towards their young daughter Dua. Even as the emerging stresses start to showcase a deconstruction of her marital happiness, Dua always brings her a joy that surpasses it, much to her husband’s growing concern and, at times, frustration. However, when the events take the curve they do, it brings about an atmosphere of volatility that could tear Abida apart forever, and Deol more than effectively embodies the desperate emotional instability and excruciating acceptance of reality when earlier so deftly displaying the calm, collected, nurturing nature Abida resided within. Deol so beautifully immerses you in the character that it’s what makes the revelations that come about more meaningful and believable. This is all to state it is a wonderfully, fervently, memorable performance Deol provided, a credit to the star power she represents and I hope to see more of now.
Likewise, Singh lends an intentionally muted but still fully engaging and powerful performance in his turn as Sulyemaan, Abida’s husband whose even more than ever attempting to find ways to get the family back in good financial graces, even though necessity with the upcoming Eid holiday causes him to still make some questionable choices even in the name of supporting family. Yet, he maintains his confidence in those decisions, despite Abida’s growing doubts and impatience, and he also fully dotes upon their son Faiz, much to Dua’s disconcert and sense of being neglected. Seeing Sulyemaan’s also evident uneasiness about his wife’s sole attention being on Dua is a factor that plays a key part in the story, and I enjoyed watching Singh, like Deol, sell you on not just a character, but the literal part that character plays in the events depicted through their actions and expressions, which then all come together when things are revealed. It’s brilliant acting to carry it off, and Singh absolutely nails it.
Not at all to be forgotten, child actors also just blow my mind in the amount of talent at so young an age, and Sharma is just incredible in her role as Dua, an innocent, charming, endearing child who wins your heart and sympathy throughout the film, displaying a that quietly energetic drive and relatable poise that keeps us paying attention, exceptionally well enacted given what direction the film takes. What else to say but a huge “BRAVO!!” to this up and coming star! Also, Shirole embodies the essence of unexpected actions and manner through her role as Rehana, the family’s mother-in-law who is far more than she seems beyond the old woman most would take her for. Watch the film to understand! It’s a fantastic performance for the short amount of times she appears on screen! Other supporting appearances are made by Nag as the family’s son Faiz, as well as Anirudh Joshi , Rewati Vasant Limaye, Prashant Rathi, Sudhir Baliram Nimbre, Auroshika Dey, and Neeta Jhanjhi.
So, in total, “Ek Duaa (A Prayer)” is an absolute must-see indie short film with star power behind it that stirringly, influentially, and with totally provocative conviction provides its purposefully intense message while wrapped in a superbly written, intelligently executed shell that once more tolls the bell in support of the quality, artistry, and sheer, wholehearted passion that independent film consistently exhibits.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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