In Mumbai, Nurse Prabha’s routine is troubled when she receives an unexpected gift from her estranged husband. Her younger roommate, Anu, tries in vain to find a spot in the city to be intimate with her boyfriend. A trip to a beach town allows them to find a space for their desires to manifest. -Synopsis

This is the 1st Indian film to screen in competition at Cannes in 30 yrs; it was awarded the Grand Prix in 2024. The topic is NOT something we see V often- the emotional and social lives of 3 ordinary/working women living in a big city (Bombay/Mumbai). What brings the women together is the fact that they work at the same clinic and a shared language (Malayalam). Prabha (Kani Kusruti) is an experienced nurse in her 30s whose husband moved to Germany yrs. ago; they have rarely been in contact. Anu (Divya Prabha) is a 20s nurse who is secretly dating a (Muslim) man; she is Prabha’s roomie. Parvaty (Chhaya Kadam) is a cook in her 50s; she is widowed w/ an adult son.

Anu: How could you marry a total stranger? I don’t think I could.

Prabha: You might think you know someone, but they can also become strangers.

The writer/director, Payal Kapadia, is NOT afraid to look at (uneasy) topics of loneliness, uncertain romantic relationships, and socioeconomic struggles. Now, some of you’re wondering what is the big deal about Hindus and Muslims dating in modern India!? Just look up what’s occurring in PM Modi’s government, when you get a chance. Parvaty is facing eviction from her (long-time) home b/c she lacks certain documents. A developer wants to tear down her building to raise up luxury condos. Kapadia uses a cinematic style that is both personal (close-ups of the women) and expansive (wide-ranging shots of the cityscape). In the third act, the story moves from the hustle/bustle of Mumbai to a quiet/rural village (the ancestral home of Parvaty). I don’t want to reveal TOO much; check this film out if you want an alternative to Bollywood.

[1] The film beautifully juxtaposes the stillness of personal struggles against the relentless pace of urban life, creating an intimate yet universal portrait of longing and resilience. However, while the storytelling is subtle and poetic, it lacks a true climax, leaving certain narrative threads unresolved. Despite this, the film’s delicate atmosphere, compelling performances, and evocative cinematography make it a poignant, meditative experience that lingers beyond the screen.

[2] Kapadia’s direction doesn’t hold back in any scene, in any frame. While Ranabir Roy also deserves appreciation for the mersmerising cinematography. The screenplay is topnotch. Kani Kusruti achors the film with her splendid, characteristically restrained performance as Prabha. And Chhaya Kadam is a treat to watch.

-Excerpts from IMDb reviews