There are many reasons why Ashish Bende’s Aatmapamphlet (Autobiopamphlet, Marathi) is a wonderful and accomplished film. In fact, this coming-of-age story is a new milestone in Marathi cinema, with a narrative that is bracing, socially conscious and delightful. First, the film was selected at the Berlin International Film Festival’s Generation 14-plus section for teenagers and adults. Second, Bende’s partly autobiographical film is remarkable for being a debut feature at an A-list festival. Thirdly, Bende has long assisted director Paresh Mokashi and considers him a mentor, a guru of sorts (Bende was Assistant Director/Associate Director on Mokashi’s Harishchandrachi Factory, Elizabeth Ekadashi, Chi Va Chi Sau Ka and Vaalvi, as well as on films by others). So for the guru to write a film partly based on his protege’s life, cherishing him (Mokashi is the screenwriter)— what could be a greater gift? In fact, screenwriter-producer Madhugandha Kulkarni, who is a producer on the film, insisted that Bende write down his life experiences, as she saw a potential film in it.

The film is about a schoolboy Ashish Bende (the director’s name), who has a crush on his classmate, Srushti Damle. One day, he discovers that he is Dalit/neo-Buddhist, whereas Srushti is a wealthy, upper caste Brahmin. The discovery of his identity is a masterly scene, as brilliant in its satire, as it is scathing. Earlier, we have seen that Ashish has Buddha and Dr Babasaheb Ambedkar statues in his home, so we know that he is Dalit/neo-Buddhist. When filling a form for middle school, a clerk explains to Ashish that if you have a Buddha statue in your home, you are exempt from paying school fees. His buddy Borya immediately asks, hoping for exemption, “Okay, so where can we buy Buddha statues?” Ashish now realises he belongs to four marginalised categories—Dalit, Backward Caste, Mahar and Buddhist.