How fascinating to know that it is God the one that is behind the order of the films I watch, and He is the reason of my progress. What promised since the opening images to be a haunting stream-of-consciousness that flowed as preciously as the stream of a river that separates two worlds, and a work of art that transformed humble landscapes and colonial architecture into striking poetry, turned simultaneously into a reflection of pervasive longing-for-home prevalence. River as a line. River as a division.
Having walked briefly through Ritwit Ghatak's partition trilogy, Meghe Dhaka Tara is referenced as an illusion to "be", and Subarnarekha as a discussion of how home cannot become a symbol of continuous destructive suffering, because "home in Subarnarekha is a lie". "Following the path of Shita and Abhiram"... We literally follow it! I missed visiting that place :') Astonishing to see not only a work of art of this magnitude with so much soul, but also to see the impact of a legendary filmmaker like Ghatak on the generations that followed, his cinema being considered as a "second home". If you haven't seen Ghatak before, you'll understand 80% of the film at most, but the remaining 20% is a beautiful treasure.