Chauranga, directed by debutant Bikas Mishra, holds a mirror to the ugly reality of the caste system€¦the violence and exploitation of the poor and the marginalized in a feudal society. Evocative of the many art films from the 70s and 80s that addressed the same malaise (particularly Shyam Benegals Nishant and Prakash Jhas Damul), the film reveals how little has changed in all these years. But is it merely enough to hold a mirror? I was hoping Chauranga would express more outrage€¦that it might explore what happens when the oppressed challenge the status quo. That might be a film of our time. This, Im afraid, weve seen before.Im going with two out of five.

The film is as brutal as it can be. Mishra sheds light on how Dalits are treated as untouchables even today and how cast and gender discrimination still rules rural India.Chauranga is a good attempt at reminding us that India is still bound by caste and gender discrimination but it really does nothing more than that. And that’s the biggest problem.

Chauranga is neither provocative nor skillful in its portrayal. Though its last scene ushers in a ray of hope to nullify the haunting gory glimpses from the film, it never soars high enough to affect you.

The tonal restraint of Chauranga is strengthened by the solid and sedate acting all around. If the seasoned Sanjay Suri, Tannishtha and Arpita are exceptional, the three principal younger actors hold their own with confidence and consistency.Watch Chauranga because it is honest, provocative and piercing. It announces the advent of a promising new voice in Mumbais independent cinema.

This story might not be easy to relate to, as it is far removed from our realities, but it is to the debutant directors credit that Santus struggles and helplessness get to you. Not glossing over the truths, Mishra presents it as it is even as he explores a deeply disturbing parallel story of a sex-starved blind priest (Dhritiman Chatterjee). Only complaint is that the movie moves at a painfully slow pace at points. This is not an easy watch, but definitely an important one.

I liked the way the two Dalit adolescents keep up their spirits : no excessive drama, no whining. They know their place, and though both react to the oppression differently ( one with a kind of acceptance, the other with a flash of rebellion), both come off as naturals. Theres something about the priest which makes you shiver, especially when he pats his pet goat : an intriguing character you wish there was more of. Whats missing in between is a fluid narrative, which hobbles the film. Or is the choppiness down to cuts? Either way, this is a film which could have been more.

What works even better for the movie is the politics that mould the characters. The village has a democratically elected council, but one that works under Dhavals thumb. Discontent is brewing among the lower caste community of the area which forms the majority. The seeds are sown for an uprising.A constant focus on the atrocities faced by the marginalized makes Chauranga a special film. Its the process of finding a solution by magnifying the ugliness in a contemporary light that strikes a chord and marks Mishras cinematic skills.

Chauranga is a lot more muted and quiet in its rage. But the thread of protest runs through it nonetheless as Santu retaliates against each bit of random violence heaped against him or his brother. But the one big act of Santus dissent involving Shivas bull, Nandi, is as radical, drastic and revolutionary, if not more, than the stone flung at the audience in Fandry. Protest is all Santu has as an empowering tool. And a ride on the train to a more just and equitable world. Hopefully.