Extremely Bressonian in its formalist sensibilities, Uski Roti employs stripped-down performances which subtly express the underlying vitality of its subjects through a careful and calculated lens in which the smallest moments reveal the unseen omnipresence of oppression. With Uski Roti the story itself is simple yet poignant, the plotting is thin yet efficient, showing a pointed clarity through a conceptional framework which focuses on social environment, invoking the spatial and temporal environment of its characters - the rhythms, redundancies, and repressions which encapsulate the day-to-day life of these woman who live in servitude. Featuring very little dialogue, Uski Roti relies rightfully so on movement, staging, and performance to convey its cultural critique. The struggle is largely internal-facing, it's alluded to, never spoken explicitly, the sense of fear being a foreboding and palatable throughout the film, revealed through subtle glances, touches, and postures. The sense of touch is a empathetic device for these woman, an implicit way of expressing their shared state of affairs without outright agitation; Their faces often a vessel of deception which conceals the their true emotions. These actions are defensive mechanisms, learned and normalized over-time by these woman who survive in an environment in which they are clearly viewed as inferior or secondary in their status in society. The arduous journey for woman is commonplace, normalized in uber patriarchal culture.
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AuthorLove of all things cinema brought me here. Archives
June 2023
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