‘Gamanam’ movie review: Earnest and relevant, thought not masterly
The Hindu
Debut director Sujana Rao’s anthology of stories set against the Hyderabad deluge is earnest and has its moments
Remember the line ‘Water, water, everywhere, not a drop to drink’ from Samuel Taylor Coleridge’s ‘The Rime of the Ancient Mariner’? When the city gets battered during monsoon and low-lying colonies are inundated each year, the line assumes more relevance. In a passing scene in debut writer-director Sujana Rao’s Telugu film Gamanam, an elderly lady in a slum questions why water channels are encroached upon and turned into high rises, allowing no room for rainwater to drain. Neither is it one of the best scenes in the film nor does the question come across as forceful, but the relevance is hard to miss.
Sujana Rao presents three stories that cut across age groups and social segments in Hyderabad and shows what the deluge can mean to different people. Water is the ever-present additional character. At first, we see women in a slum line up near a tanker to get their daily quota of water. Elsewhere, a young ragpicker chances upon a bottle of mineral water and treasures it. Later, the life-giving water threatens to consume a few characters, while it makes the others reassess their priorities and step out of their preconceived notions. Binding the stories deftly is Ilaiyaraaja’s background music, filling the scenes soulfully with joy, poignancy or indicating a looming threat, the way only he can. There are scenes where next to nothing is spoken; words become redundant when the music does the deed.
Kamala (Shriya Saran) is a hearing impaired mother of an infant in a slum, trying to make ends meet while waiting for her husband to return from Dubai. With an undercurrent of pathos, it is a story that can be used to emotionally manipulate viewers to pity the woman. However, the story progresses to show how Kamala draws on her innate strength to fight for survival. Shriya enacts Kamala with conviction, revelling in the opportunity to deliver a moving performance. The scene in which she reacts to the different sounds and later her child’s giggles can make your eyes well up and leave you with a smile.

A vacuum cleaner haunted by a ghost is the kind of one-liner which can draw in a festival audience looking for a little light-hearted fun to fill the time slots available between the “heavier” films which require much closer attention. A useful ghost, the debut feature of Thai filmmaker Ratchapoom Boonbunchachoke being screened in the world cinema category at the 30th International Film Festival of Kerala (IFFK), even appears so in the initial hour. Until, the film becomes something more, with strong undercurrents of Thailand’s contemporary political history.

Sustainability is not an add-on, but stamped firmly into the process: every piece is biodegradable, waste-free and unembellished, free from glitter or beads. “Products should be sustainable and biodegradable so that our planet is not harmed,” says Anu Elizabeth Alexander, a student of Sishya, Adyar. At a recent exhibition, the stars she made sold the fastest, followed by the small diamonds. “I would like people to know about the process, how it is created, and that it is sustainable,” says Anu. Infanta Leon from Kotturpuram developed an interest in crochet as a teenager. It was a hobbyhorse that evolved into a steed that would help her embark on a journey of identity-shaping creative engagement. She started making Christmas-themed decor two years ago, spurred by a desire to craft safe, eco-friendly toys for children. “With a toddler at home, and my elder child sensitive to synthetic materials, I wanted to create items that were gentle, durable and tactile,” she explains. Her earliest creations were small amigurumi toys which gradually evolved into ornaments that could adorn Christmas trees with warmth and charm.











