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Film Review: Village Rockstars 2 (2024) by Rima Das

Village Rockstars 2 Bhanita Das Basanti Das
"We paid for a male performer. Where is he?"

Following the rather significant impact of the initial film, both in festivals around the world and within India, self-taught filmmaker decided to shoot ““, presenting Dhuru’s situation 7 years after the events of the prequel. The film premiered in Busan where it won the Kim Jiseok Award.

Village Rockstars 2 is screening at Busan International Film Festival

Still in a small rural village in Assam, Dhunu lives with her ailing mother, trying to juggle work in the fields, taking care of her mother, and trying to pursue her dream of becoming a professional guitarist in her rock band, while her formed bandmates seem to have forgotten about their common goal. With her mother getting worse and worse, in her effort to take care of her children neglecting completely herself, and her brother frequently getting drunk and pestering her mother to sell their land in order for him to buy a motorcycle, things do not look particularly bright for anyone in the family. Even more so, since the floods in the area continue to destroy crops, and cause various disasters.

Rima Das creates a film that tries to balance Dhunu’s hopefulness through her music aspirations and her interactions with her girlfriends, with the misery and filled-with-issues life of a poor family in Assam. The music scenes, the ones where Dhunu is acting like a kid, climbing trees, playing music, reminiscing of the events of the first movie or swimming, and the aforementioned interactions are the main sources of the first element. Her mother’s situation, her brother’s erratic behavior, the issues Assamese face due to climate change, the land swindlers and their despicable tactics, the intense patriarchy, and the poorness represent the latter.

As it becomes evident, despite Das’s efforts to retain the balance, and Dhunu’s frequent smiles that bright the screen, the result definitely leans towards bleakness, with the situation being too dire for any kind of ‘tricks’ to mask it. At the same time, though, Das retains at least some sort of optimism through her main protagonist, thus preventing the movie from becoming too pessimistic.

This rather realistic approach is also mirrored in the visuals of the movie, with Das’s own cinematography implementing a documentary-like approach in the presentation of all the above, in a style that definitely suits the narrative. Cinematic artistry, however, does exist, with the depiction of the beauties of the area and the close ups to the protagonists definitely moving towards that direction, in a series of truly memorable scenes. Her editing results in a mid-tempo that also works well, although some cuts do tend to be a bit abrupt.

The acting follows the same paths. as Dhunu is exceptional in a low key performance that essentially dictates the style of the narrative. as her mother is equally good, particularly in expressing her weakness.

A triumph of low-budget, minimalistic cinema, “Village Rockstars 2” is a great movie that manages to continue the story in the most rewarding fashion, particularly in the way Dhunu’s is implemented in order to show the situation in Assam, without stripping her story of interest in any way. Me, and I believe many others, will be waiting for the 3rd movie.

About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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