Wednesday, February 26, 2020
Notes on a cinematic miracle called Sthalpuran (Chronicle of Space) by Akshay Indikar, India: 2020-Berlin Filmfestival2020 IV.-Generationkplus
It feels good to see that the Generation section continues to pick up films from India, which is for sure one of the greatest and most underrated film nations in the world. Directors of Indian cinema out of Bollywood, if Independent cinema, the Parallel cinema or the films of the old masters, they all face a lot of problems. Multiplexes - and even worse - the disease of streaming channels endanger the diversity of of cinema in India like in no other country. Despite all these obstacles, I find each year some Indian films which would honour all the big Film festivals which neglected this country for decades. That includes not only the last great masters of Indian cinema like Aparna Sen but as well talented young filmmaker like Pushpendra Singh or Rima Das. Akshay Indikar´s second long feature Sthalpuran, which is bravely selected for the children section, is already for me one of the most exciting film discoveries of this year´s Berlinale.
It is at the first sight a “Coming of Age”-story but as well the most daring and exciting film I ever saw at the children film festival (Generation kplus).
At the beginning a thunderstorm and city traffic under heavy rain. Later we see the 8 years old protagonist Dighu looking out from a window of a train. The boy leaves with his mother and his elder sister the big city heading towards the countryside to the house of the grandparents in the coast region Konkan. He misses his father and the mother told him he is “missed” without any trace. The kids questions about his whereabouts of heir father are never really answered.
The film is structured by Dighu´s diary records, small and simple sentences which appear like chapter headings. And for now we have a classic initial situation for a “Coming of Age”-drama: change, loss and loneliness in facing one´s own growing up.
Indikar tells this story elliptically in the way of the great minimalists Yasujiro Ozu or Hou hsiao Hsien. The “drama” is hidden in every day rituals: school, doing home works, strolling around in this breathtaking landscape.
There is a sentence from Dighu while just warned by his sister not to hang behind on the way to school: “I like the road to school much more than the school.” The strange beauty of this film is here quite well described. And strolling around through this film composed of poetic every day observations is an encouragement to discover the film from the point of view of Dighu – or even the 8 years old child we once were.
Dighu´s perspective between dealing with loss and change and his dreamy strolling around through the landscape is a movement, the film converts with a nearly uncanny precision for the spectator. Despite – or probably even because – the fact the film takes place in a part of the world totally strange to me – it transfers me back in a far distant childhood. Each shot, each landscape, each action appears as a wonder.
The grandfather explains Dighu how a clock is working and how time is measured. A seemingly simple moment but with the poetry of an Ozu.
The “Coming of Age” element is imbedded in landscapes and every day situations. Sometimes there is only the weather. A mighty thunderstorm which darkens the sky and emphasized the fleetingness of human life but also the light which makes all things visible in the world but also on the big screen.
Sthalpuran is a film which moves between two extreme poles, a certain minimalism but often moments of almost psychedelic beauty.
There are a lot of long shots and the boy seems lost in the mighty landscape, the rice fields, the forest or the beach of the sea. These images have sometimes the power of the paintings of Caspar David Friedrich. When we see Dighu walking on one of the roads or paths in one of the extreme long shots, the camera records with patience his way in long sequences. It seems literally as a piece of space time of a young human life. Sometimes concrete forms and shapes turn into abstract light and colour forms and the film turns into a Laterna Magica.
Sthalpuran is like my last year´s attraction of an Indian film, Bulbul can sing by Rima Das quite a cinematic journey. Indikar´s film is full of breathtaking formal ideas. The images sometimes move amazing landscape images which emphasize the illusion of spacial depth and sometimes, like in a school scene where the sight is literally blocked by a big blackboard, the film reveals the natural flatness of the cinematic image. Sthalpuran is on one hand a very sophisticated meditation about the possibilities of cinema (in this case I mean the mighty big screen) and on the other hand it evokes in me the amazement of a child which is just discovering the world around. And by the way – Sthalpuran is as well with Pushpendra Singh´s Ashwatthama and Anjan Dutta´s Dutta Vs. Dutta one of the autobiographical inspired masterpieces of the more recent Indian cinema.
Sthalpuran by young director Akshay Indikar is not only an exciting discovery of a new great talent of world cinema, it is also a beautiful and respectful gift for the 125th. Anniversary of cinema.
Thurs, 27.Feb, 10.00 Urania
Fri, 28.Feb, 11.00, Cubix 8
Sat, 29.Feb, 9.30 Filmtheater am Friedrichshain