Joram

The film is watching you watch it, and doesn’t want to be blamed for presenting a one-sided, incomplete narrative. While Dasru is runs and hides, the narrator shifts and for large swaths of time, we become Ratnakar, the police officer reluctantly giving him chase, played effortlessly by an always excellent Mohammed Zeeshan Aayub. Just like the man he is being made to hunt, all Ratnakar ALSO wants to do go home. When he gets to Dasru’s village, is when the film’s true intentions emerge, once again Makhija wants to go to the genesis of the lawlessness one hears about in certain parts of the country. If minors are being imprisoned for carrying their traditional bow and arrows, are the laws themselves not responsible for turning them into criminals? Something shifts in Ratnakar when he sees a tribal police officer, played by an incredible Jacky Bhavsar, made to dress like a woman and dance for his colleagues, not as a joke, but a proper production that’s clearly been going on for a while. Ratnakar is slowly realising this posting isn’t going to be as straightforward as he had thought, and to do his job right, he must find the cause of this effect.