Sir (2018)

Gently suggestive and mostly confined to richly detailed interiors, the contempo Mumbai-set Sir recalls Tran Ahn-hung’s The Scent of Green Papaya [1993] for its depiction of a furtive love blossoming between an upper-crust architect and his widowed domestic helper. Yet rather than reiterating Tran’s nostalgic fetishization of the docile Asian woman, tyro writer-director Rohena Gera emphasizes the female protagonist’s [Ratna, (Tillotama Shome)] dignified struggle for self-sufficiency. […] [T]he film […] gains gravity for its insight into Indian social rigidities that tether both impoverished villagers and well-heeled urbanites.

Gera is a female Indian director making her mark celebrating women’s empowerment against dire economic odds. […] [H]er direction exudes a simple grace that transcends local issues. […] The production strives for an unassuming but polished visual style that doesn’t sensationalize chasms between rich and poor. DP Dominique Colin’s beautiful slow pans glide across rooms where the protagonists each scurry around in solitude, apart yet connected to one another. […] Jacques Comet’s smartly paced editing gives the drama a boost in tension at crucial points. Parul Sandh’s production design subtly creates partitions and tight spaces that symbolize the gilded cage India’s elite lives in […].

Maggie Lee, Variety

  • Orig. title:
  • Language: English, Hindi
  • Subtitles: English
  • Distribution: MK2 Films
  • Print source: Another World Entertainment
  • Cinematography: Dominique Colin
  • Music: Pierre Avia
  • Editing: Jacques Comets

Collaboration