MAMI 2017 Highlights: Top Films From The 19th Mumbai Film Festival

 As we all struggle to come to terms with the giant MAMI-shaped hole in our lives and the notion that we will no longer have to queue up at cinema theatres, here are some thoughts on this year’s festival.

For this writer, the 19^thJio MAMI Mumbai Film Festival meant 23 movies over 7 days from countries including the US, India, Colombia, Norway, China, Japan, Sweden, Iran, Palestine and Britain among others.

Apart from some truly wonderful films, the highlight of this year’s festivities was without a doubt how smoothly run it all was, featuring almost none of the niggling issues faced in previous years. Right from the historically blood-pressure-spiking Bookmyshow portal which was effortlessly seamless this year, to the systematic, trouble-free manner with which screenings were conducted. There was an almost disappointing lack of fights erupting so kudos to the entire MAMI team.

I do however, have my fair share of complaints, chief among them being the unfortunate lack of live events such as interviews, masterclasses, panel discussions et al. While traditionally the festival has offered an exciting lineup of these, that was anything but the case this time around with a sad absence of live discussions in the initial schedule. There were admittedly a few events thrown in last minute during the course of the week, which most people found out about only after they had taken place such as a producers panel and joint interview with Dulquer Salman and Rajkummar Rao (still sulking I missed that one).

Cribbing aside, I was lucky enough to watch a solid mix of movies across genres, shapes and sizes from conventional comfort food such as Richard Linklater’s Last Flag Flying and Geremy Jasper ‘s Patti Cake$ to indie psychological thrillers such as Sexy Durga to arthouse experiments in Kirostami’s 24 Frames.

That said, perhaps it was the films I opted for or just the state of the world right now, but ‘dark and disturbing’ seemed to be the thematic fad of the hour as the majority of films seen seemed to be some variation of creepy and/or distressing. Some days genuinely felt like an exercise in choosing which films are least likely to scar you.

Another running theme from the year was the delightful child actors who entirely stole the show, whether it was the young Village Rockstars crew (which bagged the majority of the awards at the closing ceremony), the heart-melting 6-year old lead of Sean Baker’s The Florida Project, the brilliant lead pair in Todd Haynes’ Wonderstruck, or the fine young protagonist of Dipesh Jain’s In The Shadows.

So without further ado here are the top films seen this year.

The Greats

1)     Wonderstruck

Source: Shaw Online

 Some films just happen to you. You aren’t as much watching them as you are experiencing their enchantment. Todd Haynes’ spellbinding book adaption Wonderstruck is one such film. The visually dazzling film is in equal parts a fascinating feat of filmmaking as much as it is soaring storytelling.

Haynes takes you on a deeply affecting journey into the lives of the hearing impaired, following the adventures of two deaf children in different time periods, Ben and Rose, while exploring their curious connection. Through their quests, the film fills you with the spirit of adventure, taking you back to what it means to be a kid again. I saw the movie on the first day of the festival and can safely say it set an almost unrealistic standard of greatness for the remainder of the week’s lineup. Wonderstruck is curiously captivating, wholly absorbing and deeply fragile and simply one of the best films I’ve seen this year.

 2)     The Hungry

Source: Variety

Deliciously despicable and delectably sinister, The Hungry is a gloriously well-made revenge drama from filmmaker Bornila Chatterjee. The dark family drama was undeniably the ensemble film of the festival and nothing short of a triumph of casting with an eclectic mix of seasoned performers such as Naseeruddin Shah, Tisca Chopra and (the grossly under-discussed) Neeraj Kabi, as well as some commendable lesser known faces such as Antonio Aakeel.

Chatterjee excels in how she balances a whole host of moving parts, between the slew of finely well-etched characters and their agendas and motives while ensuring never to reveal too much. The Hungry is an exceedingly confident piece of filmmaking which offers a heart-stopping ride that keeps you guessing and certain unforgiving sequences will haunt you for days on end. With this, Bornila Chatterjee establishes herself as a master moodsetter and believe me when I say hers’ is a name you’ll want keep an eye out for. 

3)     A Suitable Girl

Source: Variety

A Suitable Girl is a powerful portrait of the failures of our society. The deeply affecting documentary  from Smriti Mundhra and Sarita Khurana examines the indelible pressures Indian women face when it comes to marriage and finding a life partner.  For these women and many more like them, their fate is sealed from the day they are born with marriage being the be all and end all of their existence, something which is absolute and inevitable like tax or death.

The filmmakers documented the lives of three women, Dipti, Rupa and Amrita over 4 years capturing their journeys of finding a partner, or being made to do so, getting married, or being made to do so, and beyond. It takes you into their lives, as you live their trials, relish in their celebration, yearn for their freedom and feel their pain. 

 The film equally explores the well-oiled, regressive machine that is the Indian matchmaking industry where the prominent factors used to assess suitors include caste, weight and complexion. Above all A Suitable Girl is an examination of how the entire institution of marriage is used to subjugate, belittle, diminish and control women.

While the film doesn't particularly offer much new insight into a topic we’re familiar with, it is powerful and profound and deeply moving. A Suitable Girl introduced me to three friends whose lives I felt a part of for a matter of moments. Three friends I won’t soon forget. 

4)     Wajib

Source: The Hollywood Reporter

 Wajib is a heartfelt, lovable, poignant and endlessly relevant dramedy which increasingly grows on you, wheedling its way into your heart. A Palestinian family drama from Annemarie Jacir, the film centres on a father-son relationship and their attempt to reconnect, confront past issues and find common ground despite sharp ideological differences and worldviews. Through its simple, threadbare story, Wajib manages to touch on a great deal, from family, tradition, ideology to politics, wonderfully capturing life in a developing, collectivist country in all its idiosyncrasies, warmth, contradictions and backwardness.

The film is a heartfelt exploration of bridging the gaps between generations and accepting our differences with those who see the world differently.  It is also deeply relevant to the Indian way of life where we struggle with many of the same issues. Wajib will keep you laughing, plunge you into introspection and ultimately warm your heart. 

5)     What Will People Say

Source: TIFF

Though I saw a number of films this year designed to disturb and shatter, none left as much of a devastatingly painful and lasting impression as Iram Haq’s What Will People Say.

A brutally harrowing tale of survival of 15-year old Nisha (played winningly by Maria Mozhdah), born and brought up in Norway, whose orthodox Pakistani parents kidnap her and ship her off to Pakistan when they catch her with a boy. The autobiographical film is based on director Haq’s own experiences.

What Will People Say is achingly relevant to our corner of the world which similarly boasts of a need to cling onto life threatening practices under the guise of traditions and values, not to mention a dangerously controlling culture from parents, particularly towards daughters.

While the film takes a number of liberties in logic to service the story, it is an essential tale, the kind you feel many should be forced to see. What Will People Say left me shaken and in pieces. How many Nisha’s are out there at this very second and what we can do to save them?

The Good

 1)     Sexy Durga

Source: The Hollywood Reporter

Sexy Durga is one of the most unnerving, deeply unsettling and terror-fuelled films I’ve ever experienced, which is a testament to its genius.

Sanal Kumar Sasidharan’s psychological thriller, shot in but a handful of glorious long takes, tells the harrowing tale of a young couple trying to elope in Kerala in the dead of night and their ordeal hitching a ride with a group of increasingly nightmarish men who give new meaning to the word creepy. As countless films before it have proved, Sexy Durga hauntingly highlights that sometimes the very idea and anticipation of violence can be far more shattering and devastating as violence itself.

The strongly performed film isn't so much focused on plot as it is in offering an atmospheric, claustrophobic and strangely hypnotic experience which left me exhausted and gasping for the relief of the outside world. While it took some time to shake the film off and see the happiness in the world again, I can't deny its achievement. Sexy Durga is a formidable and unforgiving piece of filmmaking.

2)     The Square

Source: The Hollywood Reporter

It’s hard not to form a certain image, and/or pre-conceived notion of what constitutes a Palme d’Or winning film. It's arguably fair to expect a certain seriousness and perhaps not the most accessible of films. What a pleasant surprise then, that The Square is a bizarrely brilliant comedy which lays on the laughs thick and fast.

Director Ruben Ostlund strikes such a wonderfully comic tone which relishes just how outlandish it all really is, that it has you wanting to crack up even when there’s nothing remotely funny happening on screen. Ostlund’s absurdist tale somewhere reminded me of Damian Szifron’s marvelous Wild Tales which struck a similarly heightened and exaggerated chord.

Though I don’t claim to have understood everything The Square was attempting to say, the film touches on a great deal such as the hypocrisy of art, the double standards of society, the functioning of media and most of all, our indifference to our fellow man/woman. 

3)     Call Me By Your Name

Source: Filmlinc.org

Touted as one of this year’s Oscar front-runners, Luca Guadagnino’s gay romance is a wonderfully tender and moving tale of young love. Guadagnino gorgeously shot love story, captures young love in all its soaring beauty, searing pain and utter madness. That said, the film works best when its central romance is understated and more subtly explored earlier on as it does get a tad lost in its ambition and attempts to cover too much ground.

Add to that what will no doubt be an award-sweeping performance from Timothee Chalamout who is the film’s driving force and an equally stellar Michael Stuhlbarg as the father you wish you had. Though the film is laborious in places Call Me By Your Name is a challenging and essential film for the times. While I wouldn’t call the best of the year as many have been eager to pronounce, it’s certainly a must watch.

4) The Florida Project

Source: The Hollywood Reporter

Another big Oscar hopeful, The Florida Project is simply one of the sweetest films you will see this year.

Tangerine-filmmaker Sean Baker weaves a heart-stealing tale centered on 6 year old, Moony, who’s one of the most hilariously delightful characters you’ll come across. Baker’s gives us Moony’s care-free, joyous view of a difficult world, where she lives with her poverty-stricken mother in a motel run by brooding caretaker with a heart of gold, Willem Dafoe. While the film boasts of an assembly line of truly lovely moments which lift you up and break your heart, it gets a tad repetitive and didn’t leave me as affected as I hoped to be.

 Honourable mentions:

Geremy Jasper’s Patti Cake$, Rima Das’ Village Rockstars, Richard Linklater’s Last Flag Flying, Dipesh Jain’s In The Shadows

The Disappointments

1)      Mukkabaaz (The Brawler)

Source: MOI Fight Club

What does an Anurag Kashyap-made masala film look like? Mukkabaaz is Kashyap’s attempt to explore just that with his most mainstream outing to date.  Unfortunately, Kashyap tries to pack in far too much in the extensive 2.5 hour run time attempting to cram in a love story, underdog journey, hero-villain saga and sports drama all packaged in his quintessential brand of angst and strong political statements. 

Though the film is commendably ambitious and wildly entertaining in parts between some fantastic fight sequences, great one-liners and strong performances from a formidable Vineet Kumar and Zoya Hussain as his mute love interest, it is also heavily uneven, inconsistent and easy to get lost in without quite knowing how to feel. Somewhere buried in Mukkabaaz is a politically-charged crowd pleaser, it’s just covered in a whole lot of disorientating excess which is in equal parts rousing as it is frustrating.  

2)     Omerta

Source: Indian Express

Omerta is by no means a particularly bad film it’s just entirely unremarkable and the least striking outing from the usually solid pairing of Rajkummar Rao and Hansal Mehta. Mehta’s terrorism drama based on the life of British-Pakistani Al-Qaeda official Omar Sheikh feels like a bland statement of facts which is a far cry from the compelling character study it could have been. While Rajkummar Rao is ever earnest in what is one of his more challenging roles to date, he is let down by a shallow screenplay and inconsistent accent which is sorely off-putting. Omerta felt more like a well-strung together recreation of events rather than a gripping narrative. 

3)     The Valley

 Source: Vimeo

When a serious, seemingly hard-hitting suicide drama crumbles into unintentional comedy, you know you have a problem on your hands. Saila Kariat’s debut feature has its heart in the right place but is nonetheless an amateur, clunky mess. The Valley works on almost no level with every element spectacularly falling flat, from the laughable dialogue, utterly tepid chemistry between every human onscreen and the lack of capable actors.

4)     Signature Move

Source: The Hollywood Reporter

It is a real achievement to make a cross-cultural, inter-faith lesbian rom-com featuring female wrestlers …boring. Signature Move was one of the films I was looking forward to most this festival season and it ended up to be a sorely lacking, lifeless experience. Though it does boast of some workable characters and certain funny sequences, these are pitifully few and far between as the film in no way does justice to weight of its subject matter.

The Ones That Got Away

Third Murder, Ask The Sexpert, Holy Camp, Spoor, The Departure, Nothingwood, City of ghosts, Zoo, Quest