While watching this 90-minute independent film, the cloud of uncertainty hovers over you. The thin line between imagination and dream dissolves into reality thereby accentuating the plot. Metaphors whisper. Though the protagonist falls for the Hindu goddess of prosperity, in the end, cinema as a medium gets worshipped.
Written and directed by Karan Gour, Kshay revolves around a woman and her growing fixation with a statue. The object of her desire stands for notions underacted by the screenplay. Financially speaking, she’s not in a position to buy the sculpture.
But that won’t stop her from contemplating ways to get what she wants. As the movie grows on you, it becomes apparent that she is more than willing to go to any extent. At the same time, her will is disguised as a battle between sanity and delusion.
Rasika Dugal, who plays this rattled character to near-perfection, is the crux of the film. Even her blank expressions speak volumes. And being the central figure, she covers most of the available space. In fact, there are scenes that rely on nothing but her countenance.
Complimenting her efforts, Alekh Sangal is apt as a loving yet baffled husband. Given the fact that he’s at the receiving end of his wife’s insufferable behavior, he could have hammed his way out.
Married to the black and white ambiance of the film is the gripping background score. The monochrome nature of Kshay gnaws deep into the sketches Rasika’s role often draws. And the sound effects keep you connected to the rising tension.
But dialogues sometimes sound like they needed revision since the emphasis is laid more on the visuals. Also, editing could have been crisper.
Overall, Gour merits credit for sustaining the mystery. That’s also the reason why there might be different interpretations of this review. Just like the film at hand.