PARIAH, notes on a film


A year and some ago, I received a note on Facebook from a young man from Kolkata, India. He asked me to look at a film he had made, a request which happens to me now and then. I assumed he had taken a workshop I’d done there some years ago, but as it turned out, he’d never heard of me. A friend of his who’d been in one of those workshops had suggested to him I was open, liked non-conventional films, and he should ask.

Most of the time when I get this kind of thing, I’ll say yes, and take a look – most often giving up after a few minutes of either truly inept and uninteresting work, or something utterly conventional which the maker thinks is somehow special. I admit I am not very tolerant in this respect, which I tell people at the outset when they ask.

If anyone reading this has a good connection to a major festival or showcase/event and could help secure a good screening situation, please contact me here.


In this case I hit the play button and was greeted right off with gorgeous very wide-screen black and white imagery, and a sharp cinematic sensibility to go with it – the editing, choices of camera movement, shifts from very close to distant, pacing. It was slow, and as some narrative began to emerge I was introduced to the main character: a grown man, seemingly mentally damaged, filthy, mute, wearing something like a badly soiled diaper. He squatted, his head swiveling this way, then that, his face showing curiosity and fear. He was not “attractive” nor in such terms someone with whom to “identify” sympathetically – a usual prime demand of most cinema viewers. The camera and film dwells on him, relentlessly.


Initially it was slightly off-putting despite the cinematic intelligence at work. But then, gradually drawn in to the cinematic qualities, and the near obsessive nature of the “story,” I watched to the end.  At the conclusion I was highly impressed and wrote the filmmaker, Riddhi Majumder.

I then found out that he’d not known of me, and on fleshing things out, was told he’d shot the film when he was 23, and this was his first film. It set me back on my heels to think such a mature work was made by someone so young, with such a serious subject and such an astute cinematic sensibility. In turn this begot an exchange of messages, and he told me how he’d submitted the film to many festivals and received no response, just the negative one of being minus the entry fees. The festivals were mostly marginal ones, ones of no utility, and in some cases just scams. I told him to stop, that he was wasting his money, and that I would try to help him get it into a meaningful festival. Which I did attempt, though my evidently totally diminished “clout” proved useless.


The film was turned down by Cannes, Locarno, Venice, and Pesaro, despite my acquaintance with people connected to those festivals and my firm words on the film’s behalf. I was surprised, since I felt the film was really very very good and should have been accepted by one of these on its own merits. Thus far the film has not been invited to any major or minor festival. In my view this is far more a testament to the dubious nature of festivals these days than about Riddhi’s film.

Pariah is a one-thread film: a pilgrim’s progress in the world, in which its main character, the unnamed pariah, moves from basic survival to humiliation followed with further humiliation, a prisoner of the world around him. Initially in a forest, we find him foraging for food – bird eggs taken from nests. Nearing a village he encounters a child, a little girl. He chases her and enters her village. There is something ambiguous in this chase, an almost childlike innocence, but with undertones of possible other meanings: might he rape her?




Entering the “civilized” world we hear a loudspeaker intoning in a cult-like manner a kind of mantra, and are introduced to an obnoxious satrap, a man full of himself receiving massages and showers from his minions who cower at his feet like whipped dogs. He lives in a palatial house, receiving visits from the villagers who beseech him for favors, and whom he treats with haughty disdain. We see men working in a well while the public announcement system speaks of an magic elixir, which binds the community together, a holy liquid.



The pariah, found sleeping in a hutch is captured and brought to the village, and tormented by the people there. He is brought to the satrap, who has him chained to a wall, and then, seemingly influenced by a young sympathetic woman, shows mercy and releases him. The pariah then joins the satrap on a hunting party, where he causes a problem and is duly punished in consequence.

Hung on the wall again, he manages to escape while the satrap is abusing a young woman. Later, found in the night in the woods, he is brutally twice raped by the satrap and a partner, and left, semen soiled, on the forest floor. In the morning he rises, like a wounded animal, and stumbles on, finally coming to a pond where he washes himself. Absolution. Moving on he comes across an old wise man who plays music and dances, and he himself dances, seemingly now free and delirious in joy.


The villagers, though, return and round him up, and in a frenzy go by torch light, leading him to a pyre.


As a story this is simple – the innocent and the evil juxtaposed, the herd behavior of the people bowing to suspect authority, the sway of cult beliefs governing society. But, as in music, in which the lyric is often simple and near useless on the sheet, but soars when made music, Riddhi’s poetry emerges in the cinematic qualities of the film in concert with its grim content. The rich images, beautifully conceived and shot; the sharp cinematic sense of when to move the camera and how, where to place it. And then the non-professional actors carrying their roles in a strangely Bressonian sense but the opposite, often in near iconic imagery. They stand as “models” but emote as actors, shifting the terms of this film from a seeming “realism” to a parable, a Bengali variant of Catholicisms’ Stations of the Cross, except in this case there is no redemption, there is no resurrection, there is no hope.


Pariah, aesthetically stunning, and thematically grim, offers little solace outside its artistry. Which, I suppose is why thus far it has been bypassed in favor of less demanding works and “audience pleasers”, even in so-called “serious” festival settings – which is a tragedy.

I have been at many festivals, and seen many truly bad films at them.  Especially ones by “name” directors who seem to get a pass, no matter what crap they do. (One I particularly recall is Harmony Korine’s Trash Humpers, a true piece of junk that I hope Korine coughed up to show how inane festival selection can be: big name, big shit = invitation.)

It would be for me a sad matter if Riddhi Majumder’s film were to be simply swept by in the vast river of cinematic junk which rushes by everyday, and that the failure of our cultural system were to put any kind of brake upon him.  He is a person of transparently natural sensibilities for this medium, a born filmmaker.  And from the evidence of this work he is someone taking life and our place in the world seriously, and making work to address that.  Perhaps this makes him a pariah in the sad corrupt world which much of the cinema circus represents.

If anyone reading these words can help Riddhi secure the kind of screenings this work deserves, either contact me here, or Riddhi directly:



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3 thoughts on “PARIAH, notes on a film

  1. Lovely of you to do. No luck even with little groups like Chicago film makers or Facets?

    Marilyn Katz
    MK Communications
    350 West Hubbard Street
    Chicago, Il. 60654
    312-822-0505 (o)
    312-953-1225 (c)

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