The situation here, unlike in Das’ previous movies, is an unforeseeable natural hazard that is beyond human control – the Covid-19 pandemic.
And thus, the film becomes broadly socially significant in terms of its scope and significance. The conflict of the film, which started as economic, goes on to enter the realm of gender, individuality, identity, freedom and choice. However, the work isn’t as simple as they had anticipated, because there are problems individual, personal and societal. It is the only successful source of sustenance in desperate times such as the lockdown where no other jobs or work have clicked. The plan is to shoot and produce pornographic content and upload them to the web for money. And the third member of this group, a flamboyant persona, who used to work in a hotel in Goa, and was likely, laid off when the pandemic hit, now kills his time doing nothing.įinancial hardships, familial obligations, and the need for the self-respect that only money can provide, drive the three troublemakers to devise a foolproof scheme to generate quick cash. His expectations are dashed, as he couldn’t predict the dawn of the pandemic. The other drives a TATA Magic and carries passengers to and fro in the hope of owning a vehicle someday. One of them runs a store called Global Village, which, before being copied by others, had the first PCO (Public Call Office) or sold the first VCDs in their little village. (For the sake of this discussion strictly confined to theatrical releases, we are not considering Das’ direct-to-online streaming release Hero here).īulu Film chronicles the tale of three social misfits and occasional dimwits who are sometimes ahead of their times or sometimes behind them. The themes of unemployment, social ignorance, and racial prejudice run in both the movies, and his latest Bulu Film belongs to the same staple of social satire but in a way that is also different from the rest. Meanwhile, Goru focused on the current polarisation of politics, ethnicity and religion and the helpless or hopeless role of the state regarding which citizens suffer. The satire of Shakira Ahibo Bokul Tolor Bihuloi focused on the Bihuconomics of Bihu Sanmilans in Assam pitted against the backdrop of rural issues and every problem that we, as a community, are collectively facing. He always places his characters within pre-destined and peculiar predicaments that become fertile ground for his social critique or commentary to flow. His movies tackle bold, risky issues, but they do so in a way that uses humour in a distinctive way, which makes the complexities of an issue popularly accessible. As proven by his previous films Shakira Ahibo Bokul Tolor Bihuloi and Goru, writer-director and actor Himanshu Prasad Das observes society keenly, daringly and visits terrains seldom visited by other filmmakers.
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