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Siddharth Diwan’s camera slides through walls like page-turns. Its simple story is chopped up and told through emotionally-resonant flashbacks.
BULBUL KANNADA MOVIE REVIEW SERIES
Years later, when Satya returns, he finds her lording over their ancestral manor, her solitary existence shadowed by a series of murders (ascribed to the feared and arboreal chudail.)Īnvita’s film has the allure and vividness of a fairytale. When their closeness spelled trouble, Satya was sent off abroad and Bulbbul was abandoned by her husband.
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She was married off as a child and grew a close friendship with her brother-in-law Satya. Bulbbul (Tiptri Dimri) is the young, forlorn wife of a rich zamindar (Rahul Bose). It sings of clipped wings and feet, capturing the injustices of a feudal world built on the subjugation and enslavement of women. What happens next serves as a prelude to the film’s revisionist gaze: a young aristocrat, dismissive of his roots, getting sized up by his past.Ī slender mix of supernatural horror and social commentary, Bulbbul - produced by Anushka Sharma and out on Netflix - is a bewitching tale of trauma and heartbreak. He gets down to check while Satya nods off in the back. Satya laughs it off, but his coachman is tense. As they cross a dark forest, he’s warned about a chudail (a female tree-crawling spirit). Satya (Avinash Tiwary) is returning home after finishing his studies in London. Imperious zamindars ruled with a heavy hand, orthodoxy and superstitions were rife, and the provincial hush of the era hid tales of unspeakable violence.Īll of which is effortlessly distilled in an early sequence in the film. In the interiors, though, the old ways persisted. It was a time when the Bengali Renaissance was at its peak, with Calcutta the seat of great social and cultural change. Though the film doesn’t pause for historical context, the turn of the century setting isn’t incidental. Anvita Dutt’s Bulbbul begins in 1881 and picks up twenty years after.