In recent times, a noticeable trend in Indian independent cinema is its focus on stories from the heart of the nation. Independent filmmakers are increasingly moving away from narratives set in big cities, opting instead to explore the intimate realities of common people and their daily struggles. Movies like ‘Gamak Ghar‘, ‘Dhuin’, ‘Nasir’, and ‘Pokhar Ke Dunu Paar‘ have created a significant buzz among the Indian intelligentsia. All of them made on shoestring budgets, tell intimate yet relatable stories that reflect on modern-day India’s social and political landscape. Vikram Kumar‘s directorial debut, ‘Celestina and Lawrence‘, seems to be another addition to this ongoing trend. The film tells the story of two titular characters, both from the tribal community of Jharkhand, who are trapped in their individual struggles to achieve a better life.
Celestina and Lawrence review is part of the Submit Your Film Initiative
The screenplay of ‘Celestina and Lawrence’ follows the traditional three-act structure. The first two acts introduce the lives of the central characters separately, while the third brings their stories together. The first part focuses on Celestina, an unmarried mother who works in Ranchi as low-paid daily labourer. After the birth of her daughter, her boyfriend abandons her. As she seeks justice for her child, she finds herself caught in a false human trafficking case. The second part centers on Lawrence, whose dream of becoming a builder in the real estate business is shattered when demonetization is announced. As the economic crisis deepens, he is forced to leave his regular job and becomes a full-time night watchman in a housing society. In the third part, the two characters’ lives intersect, and they form a bond that offers a flicker of hope in their otherwise bleak existence.
This approach of telling the story in three distinct parts works because it objectively explores the characters and their struggles without any bias. While the first two acts effectively portray the inner and outer conflicts of the two protagonists, the third act feels rushed and underdeveloped as it attempts to wrap up the narrative quickly. Unlike the earlier ones, which are rich with tension and emotional depth, the final lacks equal complexity. Although it includes two dark dream sequences, they are hit-or-miss in their execution. The editing by Kshama Padalkar further contributes to this sense of hastiness, as there are moments when scenes are cut short before reaching their emotional peak. This problem persists throughout the film, occasionally making the viewing experience jarring.
Despite these flaws, ‘Celestina and Lawrence’ is a commendable debut from Vikram Kumar. He demonstrates a deep understanding of the lives and struggles of people living on the fringes of society, capturing their stories with meticulous attention to detail, and a human touch. The humanity elevates the characters and allows them not only to resonate as individuals but also to become the representation of the social injustices occurring in everyday life.
Both actors, Ankita Kerketta and Salib Minj, bring sincerity to their roles. Their characterizations give distinct voice to the marginalized people. The latter in particular (who also acted as co-producer) delivers a standout performance as the male lead. Despite being a non-professional actor, Minj brings incredible depth to his role, leaving a lasting impression.
Vikram Kumar wrote the movie’s script in 2017, shortly after demonetization swept through India. However, he struggled to secure funding in the following years, and it was only completed in 2024, seven years after its conception. Therefore, the film not only portrays the lives and struggles of its two tribal protagonists, but also reflects the filmmaker’s own journey. Despite numerous challenges, Kumar’s passion for the story and his affinity for the people and places he depicts are evident in the final product. ‘Celestina and Lawrence’ may have its flaws, but the emotional depth and human values make it an important watch.
