No Limits explores several themes – the struggles that athletes go through to reach their goals, the personal and professional risks they take to break records, the compromises they make and the single-minded focus required of them.
This film reminds us of the power of connections in finding pleasure, joy, confidence and healing.
Every part of life, the world too, is storied. Stories are the thread that hold histories and truths together. Stories are at the core of myth-making. Everything that we know is part of multiple crisscrossing relational storylines that we raise and those that we have no power in raising.
Nathicharami takes sexuality and sexual desire away from upper-class, Gucci-clad women and makes its viewers acknowledge its existence in the lives of women (middle-class wives and widows, in the case of this film) who are invisibilised, both in the society they live in and as subjects of popular content.
The anthology’s pull rests in its sincere and frank portrayal of male and female desires cutting across the divides of age, sexuality, and socioeconomic position. In terms of romance, the idealistic, till-death-do-us-part fantasy peddled by our movies and mainstream literature has been replaced by a realistic portrayal of modern relationships.
When Deepa Mehta’s Fire came out in 1996, violent protests roiled India over the depiction of romance between two female leads. There is no homosexuality in India, demonstrators declared while burning effigies in the Capital. In contrast, when Margarita With A Straw came out in 2014, it received accolades for its sensitive portrayal of queer desire in a woman with disability.
The short film Leading Lady Parts offers incisive commentary on how femininity and female sexuality are represented in popular culture.
Any desire, not necessarily or narrowly sexual, but perhaps related to sexuality, such as independence, equality, gender role-bending, controlling your own finances, eating the food you’d like to eat as opposed to the food your spouse desires, wearing the clothes you’d like to wear, birth control, choosing to have or not to have children … any of these desires would have only that importance that the individual concerned is able to apportion to it.
Satyam Shivam Sundaram (Truth, God, Beauty) is the story of Rupa (Zeenat Aman), an archetypical abhagan (wretched girl), whose misery begins at her birth when her mother dies. She is immediately declared an accursed child and is shunned by others. Later, a freak accident results in scalding oil splashing across one side of her face, leaving her permanently scarred. Nevertheless, she goes about her daily life – alone, yet content.
Imtiaz Ali’s 5-minute film begins as any trite gangster flick but rapidly flips things around both in narrative and in audience perception.
A moving short film by Mira Nair on the anguish we subject ourselves to when faced with the inexplicable power…