Cinema has no defined language, over the years it has attained a sort of cult in terms of grammar. Aadish Keluskar’s first feature film Kaul: A Calling broke numerous stereotypical facets including framing and mis-e-scene. He’s back at Mumbai Film Festival again with an uncomfortable verbose venture Jaoon Kahan Bata Ae Dil. It travels through uncomfortable waters often bringing out devilish laughter at misogyny and chauvinism.
Jaoon Kahan Bata Ae Dil is an intimate story of a couple who drift through cliched spaces in space-less Mumbai exploring love and lust. Aadish Keluskar’s stifling intervention into dark spaces are choking, in a hard-hitting way. With limited locations like Marine Drive, Irani Cafe, shoddy lodge and even a theater – it portrays numerous stories of underdog couples in similar situations. There’s a dangerous conflict where it engulfs the inner devil, while Keluskar smartly tries to unmask the devil within the audience.
Aadish Keluskar’s unconventional love-story is lit with yellow tint and long takes by Cinematographer Amey V Chavan. Color palette represents conflicting associations, here with power of sex and politics; along with dominant subtext about nincompoop society. Psychologically the yellow tint contradicts the narrative in an intriguing way, it’s about high energy (horronderous sex implied) and enthusiasm for longing and love.
Rohit Kokate, who also featured in Keluskar’s first feature delivers a graceful performance and hooks from the word go. While Khushboo Upadhay’s vulnerability is strikingly heartwrenching. And sheer ability to perform a long seemless take adds creditable coverage to it being a definitive director’s medium in truest sense.
Jaoon Kahan Bata Ae Dil is equivalent to a mephistophelian, which ends on a fiendish note dugs into harsh reality in a developing country – where reality and thoughts travel backwards.
Fiction | Time: 95 Mins
Section: India Gold | Country: India
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