“Sabar Bonda (pear cactus)“The first appearance of the CV, director Rohan Parashwram Canwadi, is a pleasant burning that sometimes becomes electric. So only because expressions are the only language they have.
Drama in the marathite is, first and foremost, a film of tradition, and the way in which worldly cultural standards can become iron bars: accumulate enough of them side by side, and what you have is a prison. We first meet Anand (Bushan Manoa), one employee at the Mumbai call center in his early thirties, in the hospital where his father takes a turn sick to the worst. Before he and his mother (Jayshri Jagtap “had a time to address their loss, the procedural funeral demands belong to their rural village for ten days of mourning. Anand is hesitant to stay all the time. His mother, although she is upset, appears to understand the reason, although we are giving a hint only when she advises him to tell people that he is waiting to find the right girl before stability, because his family will not ask.
Sadness logistics create emotional fog around Anand, which Manuj transports to a weighted invisible blanket in its performance. It is prohibited in every scene, his feelings of guilt and his eyes with weary from exhausting, although because of his father’s death, he was part of it for decades. This irreplaceable turn tells us everything we need to know about Anand, where the film fills the gaps through hidden gestures and changes in the mood, such as when the paths cross with his old childhood friend, Suraaj Suman.
Palia, the son of the farmer and also married, is much more than Anand, but the two are connected immediately; Once, Anand does not seem to be bothering her ancestral house. While they remember and discuss the local terrain – the fruits they remember, and the old trees that have been reduced – a picture of their history appears, although they remain intentionally filled with.
Whatever the date they participated in, and whether Anand remembers all the details completely or not, their presence here and now has become a severe excessive, the birth of intimate friendship from their common economic conditions, and the hidden nausea, the lower and compulsory layer, and traditional traditional sexual (both men in Often they wander in marrying women who have not met before). The latest turmoil in Anand’s life sends him deeper into the cabinet, but it is irony to leave him more at risk in this process. Even more time they spend it together, “Sabar Bonda (Cactus Pears)”.
In its photographic framework 4: 3 (with the picturesque round edges), Kanawade disintegrates tenderly in every scene with weak rhythms, and the pulses between the dialogue. The camera remains during these moments – which is made by wind music that caresses the leaves of trees and filming the wonderful cinema cinema in Vikas Urs – where actors wander around every word, pause and emotion. The film maintains this reserved rhythm throughout its operation period; Although this makes it frequent from time to time, the visual construction is always accurate. The comfortable medium shots allow actors to tell the story of their increasing comfort. In the main moments, the camera punctured the touches that are, simultaneously, sudden and inevitable.
These moments are cheerful, despite their nature, they are few and far apart. Before a long time ago, the issue of what comes after that – and whether Anand and Balya have a future – raises his ugly head. But facing these dilemmas is amazing in their drama, and comes from the place of giving. Each encrypted expression is carefully expressed, whether Anand and wearing are discussing their romantic history (they ask each other if they have a “private friend”), or even Anand’s mother, who is gently inquiring about the life of Balia (“Does he not want to marry?”), All of this Her son gives permission to live freely, despite the old and new sorrows, in any small way he can.
