
Start the week with a film: In ‘Unaad', the tug between heart and head
Sarpotdar's Unaad (2023) is also set in the Konkan. Unaad is a more deeply rooted film than Munjya, making good use of picturesque locations and fishing community culture to explore the travails of its hot-headed and angsty hero.
Unaad was dumped on JioCinema rather than being released in cinemas. The Marathi film continues to be available on JioCinema's new avatar, JioHotstar.
The title translates into tramp, rowdy, layabout. It fits Shubham (Ashitosh Gaikwad), a school dropout who whiles away his days and nights rather than working with his fisherman father. Shubham hates the sea, holding it responsible for his father's lengthy absences from his family.
The theme of absent fathers unites Shubham and his friends Bandya (Abhishek Bharate) and Jameel (Chinmay Jadhav). Bandya's mother (Devika Daftardar) runs the household. Jameel's father is away in Kuwait, with Jameel expected to follow him there.
Shubham's troubles begin when he develops a crush on Swara (Hemal Ingle), who has recently moved to the fishing village. It gets worse when Shubham shoots a video of a couple and it goes viral, leading to scandal and possible police action against Shubham.
Written by Saurabh Bhave, Kalyani Pandit and Guru Thakur, Unaad skilfully reveals how the friendship between the three young men teeters after Shubham's misguided actions. Robbed of his support network, Shubham is forced to face his immaturity.
The sea serves as both a backdrop and a metaphor for Shubham's coming-of-age experience. While Unaad focuses on Shubham, the film makes room for the journeys of his friends too, particularly Jameel.
Shubham is movingly played by Ashitosh Gaikwad, with fine turns too by the rest of the cast. Aditya Sarpotdar's emotionally affecting film packs into 104 minutes a great many details of the ways of the fishing village and their specific concerns. While the movie features the variant of Marathi spoken in these parts, one of the most beautifully staged scenes has no dialogue at all – just an exchange of looks that suggest remorse and a new beginning.
Play

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
an hour ago
- Time of India
Intimacy co-ordinator says Vijay Varma is a green flag, when asked about the one actor who makes his co-stars comfortable during intimate scenes: 'He's just the most giving...'
Vijay Varma has managed to make a huge mark with his projects, especially in the OTT space. The actor known for 'Darlings', 'Dahaad' made people think he's the ultimate bad guy. However, in real life, he's a complete green flag, as revealed by an intimacy co-ordinator in a recent interview. While Hindi cinema has evolved and how, the way things function in the industry is quite different as opposed to the earlier times. Now there are intimacy co-ordinators many a times that help during intimate scenes in films, as such scenes require an actor to be emotionally vulnerable. Aastha Khanna, India's first intimacy coordinator, recently spoke about her experience working with Vijay on multiple sets, including 'Murder Mubarak' and 'Lust Stories 2'. Her words offered rare insight into the behind-the-scenes energy he brings. When asked if any actor stood out for going the extra mile to create a safe and comforting space for their co-stars, Aastha didn't skip a beat. She said during a chat with We Are Yuva, 'Vijay Varma is one of those people. I have found it so amazing to work with him. And I've worked on three projects with him now. On all three projects, he's just the most giving actor.' She went on to describe how Vijay contributes to an atmosphere of ease and openness during shoots. "He just holds space, and he will communicate with his co-performer—even if it's cracking jokes to make them laugh, and not in a way that is weird, but in a way that's friendly, to make someone feel a lot more at ease in their space. He's definitely one of those people. Vijay is full green flag energy," said Aastha. Known for his intense roles, Vijay continues to receive recognition not just for his on-screen range but also for his professional integrity. Fans recently saw another side of him when he appeared on 'The Great Indian Kapil Show', along with Prateik Gandhi, Jaideep Ahlawat and Jitendra Kumar. The actor will be seen next in 'Matka King' and 'Gustaakh Ishq'. Apart from his work, Vijay has been in the news also for his break-up with Tamannaah Bhatia . They made such a lovely pair as they were in a relationship for few years. But according to a report, the two have parted ways. Though, neither of them have spoken up on it.


Hindustan Times
2 hours ago
- Hindustan Times
Kerala unveils draft film policy; focus on financial framework, gender equality, global presence
Thiruvananthapuram, The Kerala government on Saturday unveiled a draft film policy at the two-day Malayalam film conclave here, with a focus on establishing a transparent financial framework for the industry and promoting gender equality. Kerala unveils draft film policy; focus on financial framework, gender equality, global presence According to the draft, film production and exhibition will be designated as an industry, enabling access to various incentives and easing financing processes. "The recognition of film production as an industry will bring multiple advantages, enhancing transparency and promoting social responsibility within the sector," the policy stated. The government aims to ensure opportunities for all sections of society to contribute to Malayalam cinema's growth, positioning it as a key global stakeholder and preserving its cultural heritage for future generations. The vision statement outlines the goal of building a strong visual communication ecosystem, ensuring equality across related sectors, and transforming Kerala into a regional production hub by adopting advanced technology and increasing the industry's contribution to the state's GDP. The draft notes that India is the world's largest film producer, with over 2,000 releases annually. Hindi cinema leads with about 400 films a year, followed closely by Malayalam with approximately 300. In 2015, India was the fourth-largest film market globally, with theatrical revenue of USD 2.1 billion. Between 2016 and 2021, the Indian film industry grew at an annual rate of 7.7 per cent. The film industry is optimistic about cinema exhibition prospects this year, with experts estimating theatrical revenue for 2023 in India at around ₹12,000 crore. Kerala alone recorded box office collections exceeding ₹2,000 crore in 2023, the draft said. The policy affirms the government's commitment to continued dialogue with various film industry associations, supporting demands for better wages, job security, medical benefits, and insurance. A general financing incentive scheme for Malayalam cinema will be introduced, with specific provisions for women and marginalised communities. The draft also encourages the production of other Indian languages and foreign films in Kerala. A dedicated film development fund will support promotional and humanitarian initiatives outlined in the policy. A venture capital fund for film production, with private participation and crowdfunding options for socially relevant films, will be created and managed by the Kerala State Film Development Corporation . To promote an equitable work environment, the state will issue detailed guidelines and best practices for the film industry. A single-window film facilitation centre will be established to streamline all shooting-related permits in the state. A Film Development Council, chaired by Chief Minister Pinarayi Vijayan and co-chaired by Culture Minister Saji Cherian, with an industry representative as vice-chairman, will be established as the apex body to oversee the development of the film industry. The council will monitor industry activities and recommend policy interventions to the state cabinet as required. The draft policy was distributed among delegates and will be discussed in detail during the two-day conclave, which concludes on Sunday, official sources said. This article was generated from an automated news agency feed without modifications to text.


Hindustan Times
2 hours ago
- Hindustan Times
Hanging by a Thread
For many Indians — and it is a common experience for most college students — a conversation about caste is often a conversation only about reservations. Why reservation in education and jobs for people from historically backward castes is wrong? Or why is it right? Writer-director Akshay Parvatkar, 30, has had that experience all his life, and it became the fuel for his impassioned story in 'Hanging by a Thread', a film that ends with a rousing Dalit poem entreating and evoking the end of caste by Goa's poet-politician Vishnu Surya Wag. 'I got admission into college through reservation, but caste was never a big factor for me growing up. My father, a teacher, and mother, who had a government job, kept me shielded from the idea that society may see me differently because of my caste. But in my adult life, I have come across so many people who see caste only as that which allows for reservation. After hearing so much about caste from that lens, I also began to see my life differently. But the point is, there is caste everywhere in India,' Parvatkar, who now works as a writer and director in Mumbai, says. Caste has been unpalatable to Mumbai's film producers and cinema lovers, which perhaps explains why there are so few Bollywood films about caste. Nagraj Manjula's blockbuster Marathi film 'Sairat' (2016), which steered an inter-caste love story with a winning combination of realism and crowd-pleasing aesthetics and music, is an outlier. Neeraj Ghaywan ('Masaan', 'Geeli Poochi' in the anthology 'Ajeeb Daastaans', 'Homebound') is another director who has openly talked about his own Dalit identity and made caste an effective propeller in his films. Parvatkar takes a linear, no-fuss approach in his film language — depending equally on high-pitched drama and literal messaging to deliver his message. Rohit (Saiesh Sonawane) and Aditya (Ved Amonkar), two teenaged boys and best friends, play football at a neighbourhood field with boys older than them. When Rohit notices that the boys who wear a Hindu sacred thread — the Brahmin insignia handed down over several centuries — get different, more favourable treatment from the older boys who call the shots on field, Rohit decides to make a sacred thread for himself. What follows is a shame storm, culminating in blood-drenched thread hanging over a toilet, and a mother-son moment that conveniently sets the identity story right for Rohit — 'Caste doesn't define you,' his mom consoles, in lyrical Konkani. A still from the movie 'Hanging by the Thread'. The film has a distinct look and feel — the field has the danger and unpredictability of a battlefield, and the interiors of Rohit's unpretentious flat (the family home of the filmmaker) are a canvas for the awkward, tense build-up of unspoken caste consciousness in the Dalit family to which Rohit belongs. Cinematographer Abhiraj Rawale captures the smallest detail of the home, including a whirring Usha sewing machine, which becomes a symbol of labour, industriousness and even antiquity — qualities that the writer-director suffuses his writing with, when it comes to portraying what Indian society considers 'low caste'. After completing his education in Goa, Parvatkar decided to make a career out of his amateur storytelling and dramatics, which he chiselled through his college days. Made with a grant from the Museum of Goa and later funding from a Konkani writer-producer based in London, 'Hanging by a Thread' is Parvatkar's first professional work. 'I got together Goan film professionals who work in Mumbai and elsewhere, and made it like a guerrilla project. Because there are hardly any Konkani language films, it became about doing something that hasn't been done much. It kept the group motivated,' Parvatkar says. A moment from the movie. Earlier, Parvatkar has made the documentary 'Grandmother's School' (2020), about a one-of-a-kind school in Maharashtra's Fangane district, which is meant only for grandmothers to study in. His other film is a mockumentary 'The First Wedding' (2020), which subverted the hetero-normative stereotype by setting the story in a way that makes a heterosexual couple the outsider in a world in which homosexuality is the norm and celebrating 'the first heterosexual couple's wedding' the politically correct thing to do. At present, Parvatkar is at work on his next film, about the heady chaos of a woman unfolding on the day of her twenty-eighth birthday. 'Hanging by a Thread' continues to be screened at various venues across India, having premiered at the International Film Festival of India in Goa in 2024. 'Some festivals have rejected this film on the point of subtlety. It is not subtle about its message that caste is outdated and needs to be flushed out, and I meant the drama to be in-your-face, that was the point,' Parvatkar says. And some reposes have overwhelmed the filmmaker — 'Once a man came up to me after a screening and said he once did what the protagonist does in the film — make a sacred thread for himself to wear.' A scene from 'Hanging by the Thread'. In a world fast leaping into tech-fuelled utopia — or dystopia, however you look at it — seemingly insular to small details of real-life hustles, a film like 'Hanging by a Thread' at first seems quaint. It then reminds you that we live simultaneously in different ages. Even now, a boy who wants to kick a ball and score a goal can be intrigued by how a thread around his torso could upgrade his life in small but significant ways. DETAILS: Produced by: Herman Kirtan Budget: ₹4 lakh Running time: 20 minutes Language: Konkani Short Stream is a monthly curated section, in which we present an Indian short film that hasn't been seen before or not widely seen before, but is making the right buzz in the film industry and film festival circles. We stream the film for a month on HT Premium, the subscription-only section in Sanjukta Sharma is a Mumbai-based writer and film critic. Write to her at