Skip to main content

The Afterlives of Devis




     The 13 minutes short movie Devi by Priyanka Banerjee screams out the disturbing and terrific facts on sexual violence and abuse towards women in India.Every 22 minutes, a woman is raped in our country,which is a fact that is often repeated. But it has to be, because the situation hasn't changed a bit.Ironically,on the one hand, we have multiple Devis that we worship at the clear daylight, and in the intensity of darkness, they are abused and brutally raped and are left with no choice.The movie displays the victims of rape and physical abuse gathered together after their death and disputes over the entry of the newcomer to the room which is already populated.In their afterlife, they don't believe in God, the 'Devis' are no longer worshiped, but sympathised and victimised. Regardless of caste, creed, profession,family,religion and age women are being raped in our country and marital rape is also not any different.But what stroked me is that during the entire movie,they haven't uttered the word, 'death'.It has become their reality and the world of humans has become the world of demons.Some are burnt alive,some are killed with knife,rods and stones,others strangled and some die out of the trauma after the incident.And this trauma is not any different from the pain that the others underwent.Even wearing a Burkha or being old or mute doesn't give you an excuse from not being raped and killed.When the new girl arrived, I was in tears and the characters were numb since she was too small to be there in her afterlife.This movie brilliantly tells the gripping social reality and voices the helplessness of women who are not safe even at their own homes through the metaphorical representation of afterlife.And while I finish writing this, another Devi is getting raped somewhere in India.
#devishortfilm

A.C

Comments

Popular posts from this blog

Laapataa Ladies aka Ladies Lost in Patriarchy

Kiran Rao’s “Laapataa Ladies” is a social satire that offers entertainment as well as empowerment. The movie humorously portrays the grave realities of a patriarchal society with the help of a simple story and background. As the name and the trailer suggested, it revolves around two newly married brides who get lost on the way to their in-laws’ home. While Jaya, whom Deepak accidentally brings home instead of his wife Phool, seizes this opportunity to follow her dream, Phool undergoes profound personal growth during the time. This period shows multiple women discovering themselves. Some learn to do things that they love for themselves while others learn to explore and embrace their talents.  Even though Jaya and Phool are two contradictory characters, they are both equally victims of patriarchal conditioning. While Jaya is ready to break and act against all the norms of society from the very beginning by uttering the name of her husband to everyone’s disbelief, Phool learns to do t...

Revising Utharam: The Weight of Forgotten Truths

I think more than ghost stories, most people are afraid of the unknown. The  unknown when transforms into a more fearful truth can devastate a person’s entire existence. V.K Pavithran’s  1989 movie Utharam is based on Daphne Du Maurier’s short story “No Motive”. It follows Balu’s quest to uncover the truth behind the mysterious and unexpected suicide of Leena, his best friend Mathew’s wife and someone he considers family.  Balu’s investigative skills as a journalist lead him to some strange and unexpected revelations about Leena’s past. He discovers that Leena had a completely different personality and a  shocking, forgotten history. Despite being a generous person and loving wife of Mathew, Leena lived a seemingly perfect life, content and unaware of her repressed memories. Her life as a poet and a loving partner to Mathew appeared nothing short of perfection. Yet one fine day she decided to take her life in the spur of the moment.  Unlike most mystery movies ...

The Women of Rifle Club

Over the decades, Malayalam cinema has often used female characters to uphold male protagonists, reinforcing the power dynamics in favor of men. This pattern, normalized and celebrated as long as the hero “wins” the situation, has shaped narratives for years. However, in recent times, audiences have begun to unlearn this ingrained bias, recognizing it as something that needs to be critiqued rather than celebrated.  Aashiq Abu’s Rifle Club breaks away from this mold, igniting the fiery tension of a wild war in the Western Ghats. What sets this film apart is its portrayal of women— each female character is uniquely strong and layered, claiming her identity with confidence. From being mocked for being “just a woman” to owning the scene, characterisations of women in Malayalam cinema are beginning to emerge as unstoppable forces. Society often perpetuates the stereotype that women, being emotional, are inherently weaker or less stable in grave situations. Instead, the movie shows that ...