Garvit Singh / India / 2h04
Synopsis
Sandeep, 28, receives a phone call from his father, requesting him to return home for a few days. Reluctantly, Sandy agrees to leave the city and embarks on this road trip with his friend Vikram. Their journey takes an unexpected turn when Sandeep encounters Bablu, his childhood nemesis, who reignites long-buried memories and old fears.
Never have we taken so many notes in order to write a review. It will be harder than usual not to spoil, but we’ll strive as much as possible. ZUAS, also romanised with the spelling « Zimeddari… » or « Zimedaari Umeed Azadi aur Sandyeep », is entitled “Echoes of Everything” in English. Both are relevant but we’d rather use its original title, a little more accurate given what the story holds in store.
The scenario and its treatment inject a very strong personality in this film. With its allegories, scenes sometimes shown twice from different points of view, and clever past/present parallels, this feature will inevitably work your brain. ZUAS is complex… Maybe too much? Anyway it is a frank choice, and the consequences for the audience are double-edged.
A few mixed results
Sometimes it’s subjective. A big yearning for interpretation may lead to a certain frustration. We did like the ending, but half of us saw the last shot like a kind of status quo that diminishes the experienced journey, when it could’ve made something more definitive; however the other Crocos see it as an explicit-enough conclusion… The debate remains open.
At other times, it’s factual. The film’s arcane and elaborate concept is so demanding that it’ll likely be difficult to relate— surely a few additional scenes out of symbolism, more concrete and emotional, would’ve helped. Prisoners of the scenario, the characters may touch due to some specific sequences but not on a large scale. You’ll also have to accept that some of them (like Guddu?) can remain enigmas.
The directing is good but you can’t help raising your eyebrows in front of certain very static stagings, with a character taking action while others are watching on standby, as if they were waiting for the film to go on (the tyre, the nocturnal meeting in the father’s house…)— chosen but quite uncommon anomalies. In the same vein, more annoying: action or fight scenes barely work, somewhat sluggish.
N.B.: While preparing this article, we were surprised to discover a second version, with nearly 4 minutes removed from the second half, deleting a crucial scene between Sandeep and Bablu. As it happens, we think the option with more substance is preferable!
What we love
Nevertheless, what we mentioned in our first part doesn’t ruin the film, because the general consequence is a constant and very pleasant tone variation that will regularly take the viewer aback. ZUAS is full of qualities, and we even saw a few of them as mistakes before our first screening ended… Damn, that’s great!
In its form, some editing « flaws » (example: you perceive but can’t really see elements like the knife or the diary before they find a resolution) actually make sense. That holds your attention, and the viewer will stay alert to detect any possible clue… Depending on who you are, you won’t be absorbed by the same things— fun fact: it took literally the 2 hours for one of our members to realise that the Bablu character wears particular flip-flops, whereas the film emphasises it several times!...
In the content, ditto. For instance: in a certain context that we won’t detail, two characters find each other again, and the acting and the scene’s writing both seem off the mark… But what our first instinct labelled as an « error » turns out to be highly logical from the second viewing. The more you dwell on the film, the more lines of interpretation clear up (the Swaroop’s meaning, what characters like the Hefty man or Pandey Ji embody, Hefty man/Vikram or Vikram/Bablu interactions, juicy details like what triggers Bablu’s ear bleeding or Sandy’s mobile’s different ringtones…). Mechanics of the father’s character (through his behaviour with his son & his interplay with Pandey) are also well-oiled given the way he impacts the story.
We previously expressed a few reservations about the protagonists’ treatment, but we heap praise on the charismatic and involved cast. Although characters aren’t always endearing, all the actors here indisputably are. Notably, Akash Mahamana is quite impressive.
One final word about the overall technique: it is often sober, but skilled. Discreet music, nice photography, interesting compositions; nothing wrong there. The whole crew’s passion rubs off on every minute of ZUAS.
Conclusion
Fascinating and addictive: each viewing leads to a next one. Garvit Singh delivers a fevered piece of work with an array of ambiguous characters, and themes sometimes clear (identity, freedom, traditional expectations) sometimes implied (hush). You’ll feel enchanted or lost, but it won’t fail to impress you.
S.I.
« Zimmedari Umeed Azadi Sandyeep » joins official selection for the Little Croco Festival’s second edition, nominated in the Feature Film category.
Trailer:
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