,Sabar Bonda (Cactus Pear)“A rural gay story that begins in a state of mourning and sadness, it eventually leads to a bright form, with emotional complications that are born from the characters revolving around the truth, if only because the integrity only The same is the language they have.
The drama of Marathi-language, is the first and most important, is a film of tradition, and the way worldly cultural criteria can also become an iron bar: pile on them along with them, and what you have is one Is jail. We meet Anand (Bhushan Manoj) for the first time, which in his early thirty-thirtys is in a single Mumbai call-center worker hospital, where his ailing father takes a turn for worse. Before he and his mother (Jayashari Jagtap) have time to process their loss, the demand for procedural funeral takes them back to a ten -day period of mourning in their rural village. Anand is reluctant to live all the time. His mother, while getting upset, makes sense that, although we are only given a hint when she advises her to tell people to tell the right girl before settling. Is doing, because his family is used to ask.
The logistics of grief make an emotional haze around the pleasure, which fashion to Manoj in an invisible weighted blanket in its performance. He hugs every scene, his hair gets frustrated and his eyes are tired of a tiredness, while his father’s passing, it seems as if it has been a part of it for decades. This imperfect turn tells us all that we need to know about Anand, because the film fills in intervals through subtle gestures and mood changes, such as when she is when she is of her old childhood friend Balya (Suraj Suman) With the path crosses.
Ballya, the son of a farmer is more unique, much more self-obsession than bliss, but both immediately join; For once, Anand does not feel disturbed by his ancestral home. As they recall and discuss local topography – the fruits that share the fruits, and the old trees have been cut – a picture of their history emerges, although it remains intentional.
Whatever history he shared, and whether Anand completely recalls each detail, his presence here and now is hyper-specific, a cameradari born of shared economic conditions, and his hidden queue, lower caste and mandatory , Vaults of traditional asteriogenesis (both men are often known to marry women they have never met). The recent tumor in Anand’s life sends him deeply into the closet, but it contradictoryly leaves him more insecure in this process. More time they spend together, the attractive “Sabar Bonda (Cactus Pear)” becomes.
In its highly photographic 4: 3 frames (with picturesque, round edges), Kanwad deliberately ended each scene with a rhythmic rhythm, and the expanded beats between the dialogue. During these moments the camera performs the penis – by the air music that causes tree leaves, and by the grand landscape cinematography of the growth Urs – as actor works over every word, break and emotion. The film maintains this reserved tempo during its runtime; While it sometimes makes it repetitive, visual construction is always accurate. Easy medium shots allow actors the materials of actors to tell the story of their slowly growing rest. In major moments, the camera hit the touching tender exchanges, which are once, suddenly and unavoidable.
These moments are virtuous, although from their nature, they are some more away. Before a long time, what comes next – and what is the future of Anand and Balya – remember its ugly head. But the conflict of these dilemmas is surprisingly back into his play, and comes from a tender place. Each coded expression is kept with care, whether it is discussing Anand and Balia on their romantic history (they ask each other if they have “special friends”), or even enjoyment The mother slowly inquired about Balya’s sexuality (“Doesn’t she also want to marry?”, All but allow their son to live independently, despite sorrows, old and new, whoever He can do in a small way.
