Life for LGBT people in Sri Lanka was already really hard, considering that Article 365 of the Sri Lankan Penal Code, which dates back to 1885 (while it was British Ceylon), criminalizes sexual acts deemed “against the order of nature”. The financial crisis that started in 2019 and still continues expectedly made things even worse. Rajitha Hettiarachchi and Kavindu Sivaraj use the two aforementioned concepts as the basis for their 20 minute short.
“Lifebuoy” review is part of the Submit Your Film Initiative
The film begins with a man sitting on a chair on the beach, while listening on the situation about the dire situation taking place in Sri Lanka. Just across him, another guy is flirting with what seems to be an older, Western tourist, with the first man obviously disapproving. Soon he confronts the local guy, with the dynamics of the two being quite… weird one could say.
With the lack of resources and money due to the crisis, it is obvious that the tourists are treated even more as royalty, with the locals trying to get some money from them any way they can. It is soon revealed that the two men are something more that just acquaintances, with the relationship between the police lifeguard and the waiter being of the forbidden kind. In the dark, however, the two manage to finally be open with each other, and discuss what is happening between them and in their lives. The problems, inevitably, emerge once more, but so does love.
Rajitha Hettiarachchi and Kavindu Sivaraj direct a very courageous short considering the situation in Sri Lanka, which manages to highlight the two main comments here quite eloquently. The first one revolves around gay relationships and how queer people need to hide in the dark, both metaphorically, and literally as the movie progresses. The second has to do with the financial crisis, and how even prostitution has become something normal, as sometimes, the only way for locals to survive is to have foreigners paying them in any way.
Check also this interview
At the same time, and considering that the waiter is quite open with his boyfriend about his doings, the fact that the filmmakers do not proceed in presenting a jealous fight, but instead promote an image of understanding and love, works quite well for the movie. The fact that the last part, with them being together on their own finally, takes place in the darkness, has a contextual/metaphorical meaning, is quite evident, but at the same time, it takes too much of the short's duration, to the point that is becomes slightly difficult to follow, particularly in contrast to the first, rather bright part.
Overall, though, Kavindu Sivaraj's cinematography is quite good in the presentation of the setting, eloquently portraying a transition from paradise to dystopia. Dulina Chandrasiri's editing implements a relatively fast pace in the first part and a slower one in the latter, both of which fit the general aesthetics nicely. Lastly, Bhanuka Ekanayake and Lakranga Hewavitharana in the protagonist roles are convincing, without, though, having the space to really show their abilities.
Despite some issues here and there, “Lifebuoy” is a well-shot short that manages to present its comments quite eloquently.
