“I needed a boy who would work for me in the scenes where the camera keeps rolling until something happens,” Indikar explained. The boy is memorably played by Neel Deshmukh, a first-time film actor from the Kalyan suburb on the outskirts of Mumbai. Dighu is “an extension of nature”, which is why he is frequently framed against the landscape. His challenge while writing the screenplay as well as editing the film and designing the sound was to “say what cannot be said with words”. “Cinema can create a whole new set of movements,” Indikar observed. Although set in Maharashtra, Sthalpuran has actually been shot in Goa. The ravishing cinematography, by Jagadeesh Ravi, captures the unhurried rhythms of the village that Dighu gradually learns to embrace as well as the minor moments that make up the new reality – tender close-ups of Dighu listening to the rain, a shot held just long enough of Dighu’s mother watching her children go off to their new school for the first time, the awe and splendour of nature. The camera is both curious and distant as it records Dighu negotiating his new surroundings, In Sthalpuran, the first line of dialogue comes nearly 10 minutes into the narrative. Killa was more of a narrative film that followed a plot, Indikar pointed out during an interview. Indikar’s observational portrait, which sometimes has the quality of still-life painting, draws immediate comparisons with Killa, Avinash Arun’s 2014 Marathi feature about a boy who relocates with his widowed mother to the Konkan for a school term. Another entry marks an impasse in Dighu’s quest to learn the truth about his absent father: “Nothing.” Sthalpuran (2020). His mother, who has found a job at a factory to support herself, is “talking longer than usual” to a male colleague, he gripes. Subsequent entries reveal that this quiet child is observing everything around him and taking it all in.
He records his thoughts in a diary, noting that unlike Pune, the new neighbourhood has “the roaring sound of the sea”.
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The monsoon is in full flow and the countryside is heaving with beauty, but Dighu is too unsettled to be impressed. Forced to relocate with his mother and sister from Pune to a village in the Konkan after his father walks out on the family, Dighu regards his new surroundings warily. Sthalpuran is, as the title suggest, a chronicle of a place seen through the bespectacled eyes of the young Dighu. This exploration of the inner life of a child is guided by a contemplative approach that is expressed through long, unhurried takes and numerous silences. It’s a big honour for Indikar, a film school dropout, and yet another booster shot for the wider community of independent-minded Indian directors who seek to share their vision on a global stage.Īlthough Sthalpuran will be shown in the Generation K-plus category, which features films about children and teenagers, it’s really for grown-ups.
The second one, Sthalpuran, will be premiered at the reputed Berlin Film Festival (February 20-March 1). On-the-up director Akshay Indikar, who is all of 28, has completed two Marathi films in as many years and is tearing towards his third.
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