Shot while in quarantine and utilizing phone camera in order to record footage, “The Meat” explores social, religious and class disparity within Indian culture. The story follows Rizwan, a migrant worker attempting to make his way back home after quarantine forced him out of work. Adding to the situation is his identity being tied to a religious minority that makes him a constant target. Under the strict measures, Rizwan chooses to hide his religious background while under the roof of an Islamophobic politician. Meanwhile, his wife Fatima works as a domestic help in another part of the country. Chatting over video call, the couple express a deep fear of what they have to accomplish to stay alive, a fear which tragically comes to fruition.
“Mangsho” presents a harrowing experience through adding religious prosecution on top of the already saddening quarantine due to the Covid-19. The film captures a believable and engaging narrative through a strong script, which offers perspective from four different actors interacting over videocall. Working within the restricted format, the dialogue works well to really establish where each individual stands in their beliefs on various subjects. Furthermore, the narrative moves at a quick pace and ends on a well executed, deeply tragic note. Overall, the message that Ghosh wishes to convey is executed in this perturbing, yet exemplary, manner.
As strong as the narrative may be, it is let down by its execution, even taking into consideration the restraints of filming from within quarantine. The film becomes a rather uncomfortable watch for various reasons, but one of the most notable reasons become apparent from the opening frames. Given that the situation the characters find themselves in would be high stress, it is acceptable to see them act in a rather brash and impulsive manner, a certainly a state many people can relate too. However, all the characters' mannerisms and attitudes are not aesthetically enjoyable, from mugging for the camera, to eating messily, and angry dialogue that feels misdirected. Furthermore, it is hard to really pick a sympathetic character due to no one really being likable (with the exception of the young woman). Overall, statements regarding racism, thievery, crass sexual references, and male dominating female make for an uneasy experience, particularly when you add unsavory mannerisms on top of it.
Another point audiences may want to consider when approaching the film is that there is footage of a pig slowly bleeding out. This moment works great as a metaphor for the treatment and disposal of a certain class of people, but at the same time is undoubtedly upsetting and bordering on exploitative. Furthermore, not really given the context or a disclaimer, it becomes hard to determine why exactly the pig was slaughtered and whether or not it is stock or original footage. Regardless of its source, it is bound to isolate many viewers, even those who can appreciate the message behind this creative choice.
“The Meat” is a difficult film, both in content and delivery, but that is not to say that there is not some degree of reward within the content. Notably, the film offers a deep look into the horrors of having to face religious prosecution on top of an already dire situation, a concept which will seem foreign to many. Consequently, this insight leads to a sort of plea for empathy that would have been overlooked by many if not confronted with it in such a harsh and cruel manner the short sets out to establish. One of the honorable roles a film can fill is to give a deeper understanding and try to incite positive change; in that regard, “Mangsho” definitely hits that mark.
