Shape of Momo is not only set in Northeast India, its gaze is true to the region too. Sikkim filmmaker Tribeny Rai’s compelling feature debut is every bit precise and local, yet the narrative has resonated with audiences around the world. Punctuated by a thought-provoking plot, fresh perspectives and some curiously brilliant performances, the 112-minute Nepali drama will reaffirm your faith in the country’s growing breed of indie filmmakers who are more than hustling on the fringes. Loosely based on the writer-director’s personal experiences, the movie takes you to a cosy little Himalayan village, where homestay business is spreading like wildfire, yet the native women continue to reel under patriarchy. Although the frames navigate vividly postcardesque landscapes, the story is not to be mistaken as a sojourn to the mountains. Shape of Momo is at once complex and dreamlike, yet reflects life. After premiering at the coveted Busan International Film Festival and being screened at the International Film Festival of India recently, the award-winning movie will tour a little more before its theatrical release next year.
STORY: In her early thirties, disillusioned and a bit worn out – Bishnu (Gaumaya Gurung) decides to quit her writing job in Delhi and return to her roots in Sikkim. Not really to take refuge, but she definitely needed some time off to pause and ponder. Hers is a family of strong-willed women – comprising her granny (Bhanu Maya Rai) and mom (Pashupati Rai) – who have toiled through their personal journeys to lead a life of peace and dignity. Yet they unwittingly give in to the norms of patriarchy, which is so deep-seated in society that it feels like routine.
For Bishnu though, the problem is way more layered. While she loves soaking in the winter sun, jogging around the hilly terrain and even helping her mother cut a deal for selling homegrown oranges, she is constantly reminded of being a misfit in familiar locales. The village takes pride in what Bishnu has accomplished in her career, but her trying to take charge or disrupt the way her mother runs the household is not quite palatable. In the sleepy northeastern village, where roles are still gender sensitive, Bishnu comes across as cranky and inconsiderate as opposed to calm and discerning.
Despite being respectable and self-reliant, the women are constantly burdened by societal pressure and expectations. The absence of a male member in the family is so overpowering that it’s almost always the cause of despair and gloominess in the household, so much so that it’s straining the relationship between the mothers and daughters. Even a simple entrepreneurial venture of restoring an outhouse into a homestay felt too risky for a house full of women.
Beaten down by her anguish and inner turmoil, Bishnu tries to internalise and conform to traditions, only to be questioned by her own principles and integrity. The complexities deepen when Bishnu’s pregnant sister Junu (Shyama Shree Sherpa) comes visiting and the neighbours get preoccupied with trying to determine the gender of the unborn child. As if, only a baby boy can relieve them of all their ‘sorrows’. Their grandmother, on the other hand, desperately waits for her son to return from Dubai. One evening, while making momo for dinner, Junu dotingly points out Bishnu’s inability to wrap and fold the dumplings – a nimble art form that every woman should master before marriage, they say. These mundane exchanges make Bishnu probe her own identity and freedom against her cultural values and the social system.
REVIEW: Bishnu has a cat named Azaadi. It often curiously disappears in the surroundings only to come back purring later. Tribeny uses this as a metaphoric expression of the protagonist’s personal struggles. The fragile moments of her life seem to stem from a sense of displacement that may have peaked when she was in Delhi. But returning to her village only confirmed her worst fears. A Dalley Khorsani Productions and Kathkala Films presentation, Shape of Momo chronicles the quiet struggles of speaking truth to power; of being resolute, independent and resilient. It explores how women internalise and challenge the so-called norms that oppress them. Despite the untowardness, Bishu refuses to become a victim of patriarchy. Her confrontations with Gyaan (Rahul Mukhia), a local architect and a ‘suitable’ match for her in the hills, turn out to be both tender and eye-opening.
The narrative instantly gives an impression of ‘world cinema’ – one that is slow and meaningful. In turns, poignant and reflective, the movie paints life as it is. Co-writers Kislay and Tribeny have penned a gripping screenplay from the perspective of a northeasterner. It demonstrates the emotions and lived experiences of people from the region – something that mainstream creators at times miss or misinterpret in their films and OTT shows. Be it the orange orchards, warm blankets or the small joys of calling a Himalayan village home, Shape of Momo beautifully depicts the pulse and patterns of the region. Cinematographer Archana Ghangrekar’s breathtaking camerawork, Mikhail Marak’s music and Anil Aalayam’s editing have evenly contributed to this piece of art.
A reticent yet profoundly remarkable Gaumaya dazzles as Bishnu in Tribeny’s impressionistic Nepali drama. Even her crestfallen expressions double as plot devices in the narrative, which is perplexing and intrepid in equal measure. Pashupati, Shyamashree, Bhanu and Rahul have also splendidly essayed their respective characters. The movie comes with its share of poetic moments too, dovetailing the themes of compassion, empathy and playful banters. The story touches upon the hidden aspects of the human psyche that don’t always get articulated.
VERDICT: Watch Shape of Momo for its honesty and courage to narrate a relevant story through the medium of cinema. The Tribeny Rai directorial is a masterclass in nuanced filmmaking. This quietly meditative family drama reiterates why art must continue to expose the horrors of patriarchy. The cast’s powerful screen presence and the film’s underlying message make it almost unmissable. The most interesting takeaway, however, is that it deliberately avoids romanticising the Himalayan communities, especially those in the northeastern part of India. Rather, the narrative presents an unbiased and unflinching portrait of women who hold their own in a man’s world. Thank god, the story is told from the Sikkim vantage point and not Mumbai!
Shape of Momo
Rating: 4 stars
Director: Tribeny Rai
Cast: Gaumaya Gurung, Pashupati Rai, Shyamashree Sherpa, Bhanu Maya Rai and Rahul Mukhia
Story and Screenplay: Kislay and Tribeny Rai
Cinematographer: Archana Ghangrekar
Editor: Anil Aalayam and Kislay
Music: Mikhail Marak
Sound Designer: Akita Purkayastha
