Govind Nihalani's Drishti is totally Scenes from a Marriage. The male lead even looks and talks like Erland Josephson. The female lead can look as confused as Liv Ullmann. Nihalani infuses his characters with psychological struggles less complex than those of Bergman's, though not making them any less valid and cogent. The acting, obviously, is just as amazing.
The film is indeed beautiful to look at. Nihalani's compositions here are impressive, drawing out spaces that resonate with the alienation and breakdown between the couple. The interior shots, that take most of the film, are also remarkable in the use of various lighting sources and the ever flowing curtains. Also note the use of interiors versus open space that bring notable significance to the characters' mental landscape, illustrating the feeling of confinement and openness.
For anyone interested in films about marital discord, Drishti will satisfy, if not offering anything new. For anyone addicted to quality film-making, this is required viewing, especially when Indian art cinema is so buried underneath the country's overwhelming commercial films.
The film is indeed beautiful to look at. Nihalani's compositions here are impressive, drawing out spaces that resonate with the alienation and breakdown between the couple. The interior shots, that take most of the film, are also remarkable in the use of various lighting sources and the ever flowing curtains. Also note the use of interiors versus open space that bring notable significance to the characters' mental landscape, illustrating the feeling of confinement and openness.
For anyone interested in films about marital discord, Drishti will satisfy, if not offering anything new. For anyone addicted to quality film-making, this is required viewing, especially when Indian art cinema is so buried underneath the country's overwhelming commercial films.