, which went on to win the festival’s Golden Eye prize for Best Documentary. The label is somewhat deceiving: Composed as a found-footage movie about love, loss and film students engulfed in protests against Narendra Modi’s government, the movie played less like a documentary than a fictional collage of documentary elements, carving a sad story out of bits and pieces of real life., starts off in a similar vein.
As the fictional side gradually takes over, we follow Prabha and Anu while they drift between work, their routines afterward and their long commutes to their apartment, in a daily and nightly grind backed by Dhritiman Das’ jazzy piano score. That music perfectly encapsulates the tone Kapadia is going for: something melancholic but also rather playful, in a film that’s ultimately more of a romantic dramedy than a pure drama.
But the two women also sit on opposite ends of the romantic spectrum: Anu is in the midst of a passionate love story that’s hampered by the fact that Shiaz is Muslim and she’s Hindu. The couple has nowhere to go to be alone, which means they spend a lot of time making out in public. In one telling and rather amusing sequence, Anu goes to buy a burka so that she can sneak into Shiaz’s apartment, only to learn that his family has come home early.
This happens, in a sense, during the film’s third act, when Prabha and Anu accompany an older colleague, Parvaty , on her journey back to the seaside village where she grew up — and where she’s been forced to move after life has become unaffordable, even for a woman like her with a steady job.
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