Bhaskar Hazarika, where have you been all my life!: Amal George Appadan

Stop whatever you are doing and go and watch 'Aamis'!
https://www.moviesaints.com/movie/aamis
This might be one of the best movies that I have seen in a while.
In the first 10 minutes itself, you will be hooked and the movie won't let up through out its run.
Bhaskar Hazarika, where have you been all my life!
Such an intriguing screenplay!
Lima Das, I have fallen in love with you. Your eyes had my undivided attention throughout the movie.
Arghadeep Baruah, you put so much soul and innocence into that character and I would love to have a fireside chat with Sumon about food.
What an incredible debut from both of them!
Each shot, better than the other.
Every moment accompanied by bgm which traps you in and doesn't let go.
This movie has spoiled me.
This movie, right here, is what I would have loved to create. I would have absolutely loved to be in the creative process of this one. If only!
'The myth of All Consuming Love' - It is no myth, my dear friends!

Originally published on Facebook: 
https://www.facebook.com/amalgeorgeappadan/posts/2742151215832708

Every fucking thing was challenged: Lopamudra Sharma

Post Aamis, I have been coming to terms with the meticulous chaos that the film was. Whatever came out from the hall that day will be staying with me; shadow-atoms. I will skip right to the point about why I loved Aamis. It was about the constant deconstructions of the self, of denial, of acceptance; a very intimate journey, a torrid affair with the unrestrained madness beneath our skin. The invisible social structure shaping our sensibilities, orchestrating our narratives, everything was challenged. Every fucking thing was challenged. It was hard clinging to our binary limitations of what was good, or bad inside the cinema hall.

#spoileralert
I do not intend on endorsing cannibalism. But, why cannibalism? Why it had to be like a surrealist painting with the cold fingers of absurdity slapping our well-conditioned cheeks? Why Frankenstein instead of the tamed despondency, which could have somewhat lessened the (moral) gap between the audience? For one, the film dealt with repressed feelings, which, again, was (is) a product of our societal structure. The way we have this unhealthy obsession to label things, to construct cute little boxes to avoid delving deeper; we all want to be comfortable. Our convenience was effortlessly shoved down our own throats when the protagonists indulged in a very unusual love-making, eating parts of the other's flesh, savouring the taste, the aftertaste. The structure had to be broken, the cage had to be broken, and for them, this was a way. I am not glorifying cannibalism, but only addressing why it was shown in the first place. We can conform, but not always. And when we don't, it is not necessary that we will always weigh the options. Sometimes, that's not even an option, or there's not even the luxury of contemplation. We just start existing.

Right, wrong, good, bad, these are just very strong (?) words, which can be easily manipulated by any prevalent political ideology. The structure is not always your home. The reason why I will always love Aamis is because it dared to challenge, dared to disobey the norms. Cannibalism was just a medium. An aspect. An instance of using art as it should be used- as portals to the wilderness, beyond our prosaic whims to separate the right from wrong. But if we are discussing the right and wrong, why not discuss the very unhealthy ways in which we are conditioned to slowly hate ourselves for having desires, or for simply being human?

P.S. - The backlash, in a way, is positive. It seems people are logical enough to recognize the unusual circumstances surrounding the film, and that slicing up a human for brunch or dinner is not acceptable. But, we do need to go beyond the very obvious things to really appreciate the thematic gorgeousness of Aamis, or why we needed a film like Aamis. Aamis is a part of a greater discourse which questions the very fabric of a society which leaves no space for an individual to grow, or for the citizens to grow.
Do watch the film. Aamis is the kind of film which will linger like a ghost.

Originally published on Facebook: https://www.facebook.com/lopamudra.sharma.1/posts/2651932304920824

অসাধাৰণ চিন্তা, অগতানুগতিক পৰিকল্পনা: Abu B Siddik

অসাধাৰণ চিন্তা আৰু অগতানুগতিক পৰিকল্পনাৰ সাংঘাতিক সংমিশ্ৰণেই হ'ল Aamis

Originally published on Facebook: https://www.facebook.com/photo.php?fbid=1434075583407553

Sadistically sophisticated: plabitabaruah

Once in a bluemoon do we get to witness art in a form so rare and raw that it strikes the exact chords in your heart where it rings. Aamis is a chilling tale of two ordinary people with ordinary lives who ordinarily bumps into one another leading to yet another ordinary start of a ordinary affair which results in an extraordinary tale of love, lust, longing and life. The story of a beautiful lady in her late thirties, who is a doctor by profession and a caring mother and a doting wife in her personal life developing a baffling chemistry with a young PhD student doing research in meat eating habits of people in Northeast India. What starts as a sweet attraction and an innocent bond over the love of food turns into a dangerous and spine chilling addiction of bizarre kind. With both the leads playing along effortlessly, the movie takes you from what seems like a pleasant dive into calm waters to a twisted lunge into deeper and darker depths that takes the meaning of platonic love to a whole new level. A quality film in all aspects, Aamis blends the flavors of drama, romance, suspense and psychological thriller into the perfect two hours of entertainment that leaves you wanting for more at the end. Sadistically sophisticated, this is a must see for all adventurous movie aficionados who loves to explore the unconventional, defying- the-norms forms of Indian cinema.

Originally published on IMDB: https://www.imdb.com/review/rw5278186/

এক উৰ্ধ্বতম প্ৰেম কাহিনী: Banashree Sarma

#আমিষ_প্ৰেম
যেতিয়া প্ৰেমে হৃদয় ভেদ কৰি আত্মাক স্পৰ্শ কৰে তেতিয়া ই প্ৰেম গুচি সঞ্জীৱনী সুধা হয়। যাক কেৱল মাথো এটি চাৱনিৰে পান কৰিব পাৰি,এটি হাঁহিৰ ৰেখাত আৱদ্ধ কৰিব পাৰি অন্তহীন সময়ৰ বাবে। "আমিষ" ব্যতিক্ৰমী, স্পৰ্শহীন ভালপোৱাৰে আত্মা স্পৰ্শ কৰা এক উৰ্ধ্বতম প্ৰেম কাহিনী । ভালপোৱা নিৰামিষ ব্যঞ্জনৰ দৰে নিৰস নহয়।যুগে যুগে দেখি অহা ভালপোৱাৰ প্ৰতিটো কাহিনীত থাকে এক তেজ মঙহৰ অনাবিল তৃপ্তি! এই তৃপ্তিকেই ভাস্কৰ হাজৰিকা চাৰে এক সোৱাদেৰে সজালে,যিটো ভাললগা,সুস্বাদু, একেবাৰে ফ্ৰেছ মাংসৰ সোৱাদৰ নিচিনা । আচলতে প্ৰেম যেনেকৈ নহওঁক,যেতিয়াই নহওঁক,ইয়াৰ প্ৰকাশিত ৰূপ পোৱাৰ সম্পূৰ্ণ অধিকাৰ থাকে । দুদিনীয়া এই জীৱনটোত মৰম ভালপোৱাবোৰেইতো উপকৰণ,জীৱনক বেলেগ সোৱাদত সজাবলৈ ।কিন্তু ভবাৰ দৰে কৰিব পাৰে জানো সকলোৱে???নোৱাৰে । নোৱাৰে বাবেইটো অসংমিশ্ৰিত উপকৰণ কিছুমানৰ বিক্ষিপ্ত মিশ্ৰণত জীৱনৰ সোৱাদ বিহ হৈ উঠে। এই বিহে সকলোকে দহে।বয়সভেদে মাথো এই দহন বেলেগ । কোনোবাই যদি প্ৰেমত ব্যতিক্ৰমী পৰীক্ষা কৰি পচতাইছে,কোনোবাই অতিপাত প্ৰেমৰ ভোকত গোগ্ৰাসে গিলি পচতাইছে।মোৰ দৃষ্টিত চুমনৰ নিৰ্মালিৰ আত্মালৈ প্ৰৱেশ কৰিব খোজা প্ৰেমৰ পৰীক্ষাও বৈধ আৰু জীৱনৰ নোপোৱাখিনিৰ ক্ষুধাত চটফটাই থাকি শেষত একেলগে বিচাৰি পোৱা পৰম তৃপ্তিৰ ভালপোৱাখিনি গোগ্ৰাসে গিলিব খোজা নিৰ্মালিৰ ভোকটোও বৈধ। চেপি ৰখা ভালপোৱাবোৰ জ্বালামুখীৰ দৰে। মনক চেপি হেচি ৰাখি ই ভোক বঢ়াই গৈ শেষত উদগিৰণ হৈ সেই ভালপোৱাক এদিন গলিত লাভা সজাই চিনাকি কৰাই দিয়ে সমাজৰ আগত,যি হয়তো আৰম্ভণিত পাহাৰৰ দাঁতিত ফুলা নিস্পাপ প্ৰেমৰ ৰঙাফুল আছিল ।
আমিষে শিকাইছে ভালপাব,স্বাৰ্থপৰ পৃথিৱীৰ উৰ্দ্ধত গৈ।
আমিষে কৈছে ভালপোৱা ব্যক্ত কৰা সচাঁ মনেৰে,নহ'লে কেৱল মঙহৰ লোভে তোমাক চেপি ৰাখিব!ভালপোৱাৰ মিঠা সুগন্ধি কোনোবাটো টিফিনৰ বাকচত আৱদ্ধ হৈ ৰ'ব,কোনেও নজনাকৈ।

ভালপাব শিকক সকলোৱে নিজৰ ভাললগাক সামৰি।ই সচাঁকৈ সুন্দৰ, ঠিক কলডিলৰ সৈতে পাৰমাংসখনৰ দৰে,বৈজ্ঞানিকভাৱে😊
ট্ৰেইলাৰ চোৱাৰ পৰাই লিমা দাসৰ চকুযুৰিৰ প্ৰেমত পৰিছিলোঁ।চিনেমাখনত তেওঁৰ কথা কোৱাৰ ভংগী, উজ্জ্বল ফোঁটটিৰ সৈতে পিন্ধা ধুনীয়া সাজবোৰ আৰু গভীৰ মিঠা হাঁহিটি,,,,,, প্ৰাণ ভৰি মাথো তেওঁকেই উপভোগ কৰিলোঁ। অৰ্ঘদ্বীপৰ ভালপোৱাখিনি ইমান সৰল,নিস্পাপ!তেওঁৰ হাঁহিটিত তাৰেই প্ৰতিফলন ঘটি থাকিল গোটেই চিনেমাখনত।মৰ্গত চুমনৰ অসহায় ৰূপটোৱে বৰ কষ্ট দিলে। ইলিয়াচ দাৰ সৰলতা,জুমিৰ বিনদাচ লাইফৰ উপস্থাপন বৰ সুন্দৰ । দিলীপ, ৰাকেশৰ নিচিনা মানুহবোৰৰ স্বামীৰূপত কিছু শুধৰণিৰ প্ৰয়োজন আছে এই সমাজত, যাৰ বাবে হয়তো নিষিদ্ধ জীৱনৰ মায়াত পৰিবলৈ বাধ্য হয় অনেক প্ৰেমাতুৰ জীৱন ।
Bhaskar HaZarika চাৰ, কি ক'ম আপোনাক! কথানদী আজিও বৈ আছে হৃদয়ত,আমিষ এই নদীৰেই এটি আলংকাৰিক মাছ মোৰ দৃষ্টিত😊অভিনন্দন টিম #আমিষ
আমিষ সৃষ্টি হ'বলৈ যোৱা খবৰটো ২০১৮ চনৰ সৰস্বতী পূজাৰদিনাই পাইছিলোঁ সখী Dolee ৰ মুখত। বৰ আগ্ৰহেৰে কামবোৰ কৰি গৈছিল তাই।প্ৰায়বোৰ খবৰ পাই গৈছিলোঁ তাইৰ মুখেৰেই। বহুত সুখী তোমাৰ বাবে সখী।অনাগত সময়ত অনেক ৰঙীণ ছবিয়ে প্ৰাণ পাই উঠক তোমাৰ কেমেৰাত।বহুত শুভকামনা ।।।।
সকলোৱে আমিষ চাওঁক । মন ভৰি উঠিব ভালপোৱাৰ নতুন স্বাদেৰে😊😊😊
P.C: Dhrupraj Krishnatraya

Originally published on Facebook: https://www.facebook.com/photo.php?fbid=1078475099153568

এখন অসাধাৰণ চিনেমা: Deepankar Borgohain

"#আমিষ" - এখন কস্মিন আৰু অদ্বিতীয় চিনেমা । (দৰ্শকৰ দৃষ্টিৰে এক পৰ্য্যালোচনা)

পেটৰ ভোক নিবাৰণৰ বাবে যেনেকৈ খাদ্যৰ অতি প্ৰয়োজন, ঠিক সেইদৰে এখন ভাল চিনেমাই মানসিক ক্ষুধা নিবাৰণৰ লগতে মস্তিষ্কৰ উৎকৰ্ষ সাধন কৰে । 💡

সঁচা অৰ্থত 'আমিষ' এখন অসাধাৰণ চিনেমা আৰু বৰ্তমানলৈকে চোৱা এই খনেই হয়তো প্ৰথমখন চিনেমা য'ত এক অনুভৱ কৰা গ'ল ব্যতিক্ৰমী, কল্পনাতীত শিহৰণৰ উপলব্ধি ।

এক অভিমুখী পৰিকল্পনাৰে যি বিষয়বস্তুকলৈ চিনেমাখন বনোৱা হৈছে, তাক নিজে নাচালে কেতিয়াও জীৱনত কল্পনাও কৰিব নোৱাৰি যে চিনেমাখনৰ ধাৰণাটো ।

'আমিষ' চাই সঁচাকৈয়ে '#ভোকবাঢ়িছে' আৰু মগজুত উপলদ্ধি কৰা চিনেমাখনৰ সোৱাদ এক এৰাব নোৱাৰা অভিজ্ঞতা ।

প্ৰথিতযশা সাহিত্যিক শ্ৰদ্ধাৰ হোমেন বৰগোহাঞি দেৱে স্বনামধন্য শিল্পী শোভা ব্ৰহ্মৰ প্ৰসঙ্গত কৈছিল যে, "শোভা ব্ৰহ্মৰ ছবিবোৰ ভয়ঙ্কৰভাৱে সুন্দৰ"; আৰু সেই একেই উপলদ্ধি আমি 'আমিষ'ত বিচাৰি পাইছিলো । সচৰাচৰ সমাজৰ প্ৰচলিত প্ৰণালীবোৰ কিছু সময়ৰ বাবে বন্ধ কৰি দিছিল নিৰ্মালি আৰু সুমনৰ চৰিত্ৰৰ মাজেদি এখন কল্পনাতীত চিনেমাই । নবাগত নিৰ্মালি (#লিমাদাস) আৰু সুমন (#অৰ্ঘ্যদ্বীপবৰুৱা) অভিনয় একেবাৰে স্বাভাৱিক আৰু এক নতুনত্বৰ পৰিচয় দিয়ে ।

দৰ্শকক সংলাপত চিনেমাখনৰ গতিশীলতা বিচাৰি ফুৰিবলৈ পৰিচালকে নিদি, অভিনয়ৰ অভিব্যক্তি (expression), চিনেমাটোগ্ৰাফী, আন্ধাৰ আৰু পোহৰৰ ঐশ্বৰিক মিলন, আৱহ-সংগীতৰ এখন ব্যতিক্ৰমী চিনেমা চোৱাৰ সোৱাদ জীৱনৰ এক পৰিতৃপ্তি (contentment) ।

পৰিচালক হিচাপে #ভাস্কৰহাজৰিকাই পুনৰবাৰ প্রমাণ কৰি দিলে যে, এখন সবল চিত্ৰনাট্যৰ জৰিয়তে উন্নত কাৰিকৰী দিশ, চাচপেঞ্চৰ সুমধুৰ সমাহাৰৰ মাজেৰে এক সর্বাংগসুন্দৰ আৰু বিশ্বস্তৰীয় চিনেমা দৰ্শকক উপহাৰ দিয়াৰ বাবে পৰিচালককে সাঙুৰিলৈ 'আমিষ'ৰ সকলো ক'লা-কৌশলীলৈ অভিনন্দন জ্ঞাপন কৰিছো ।

Originally published on Facebook: 

https://www.facebook.com/deepankar.borgohain/posts/2594834370595097

All great stories are painfully misunderstood: Manash Mahanta

Aamis - I got to watch it late, which means I had to live for a rather long time with two things- one, the hype associated with it, primarily the hype about food and hunger being on a rise; and two, the spoilers about the story along with a mixture of varying emotions it generated to respective viewers.

To start off, I don't agree it's about food. Yes, it's a story where food is the primary metaphor, the icebreaker between the protagonists, the reference points of dividing the narrative in a three-act screenplay etc. But, if you've eaten more food after watching it or given up on eating after it, then you have watched it quite literally and not at all laterally. In a way, you watched it with your senses and not with your soul.

However, I do agree it's about love and I agree wholeheartedly.

Love - we've heard about so many kinds of it, have ourselves seen or been parts of so many kinds of it and yet I remember a lovely young friend of mine telling me a month or so ago that when we realize love has finally arrived we also realize that we knew nothing about love from before.

Aamis is a story that has its twists and turns, has its own narrative of mixing the Shringar Rasa with the Vibhatsa seamlessly and putting forth layers of the Adbhuta, Bhayanak, Raudra, Vira, Hasya, Karuna and even Shanta. An aesthetic delight with a soul, and beautiful because all great stories are painfully misunderstood as well as seemingly directionless or gone wrong!

From interest to love to cravings to obsession to going ashtray to realizing it's all about love and nothing else, albeit in a zone where there's no point of return- Aamis is all about one simple picture layered in complexity- holding a hand you believe would feed all your desires however bizarre or expensive that could be!

One question that lingered on my mind after the show was over was whether this is a writer's film or a director's film?

Writing wise, it's an intelligent screenplay. It's evident that a very fine student of world cinema with an immense understanding of storytelling to bring alive the mundane day to day affairs on screen in a rather hypnotic time and space. However, in my view, the story of Aamis is even stronger than the screenplay of Aamis. It's no short of a marvel as a story. Among the entire writing team, the masterstroke was delivered quite early on- by the story itself. The screenplay supported well. The dialogues are on two extremes- sharp, smart, witty, colloquial, contemporarily Assamese on one hand and a tad run-of-the-mill, classically dramatic overused television-like Assamese on the other hand in parts. Perhaps, three dialogue writers in one tight screenplay is an idea which is debatable. Just when I wondered this is the best example of dialogue writing I've seen in an Assamese film in last two decades, the next scene would question that back again with a piece of rather loose dialogue writing. The screenplay, as an effect is a few minutes loose as it seemed to me. Wondered if this was due to loose editing Shweta Rai Chamling and then realized editing was fine and it was a cause and effect of perhaps a tad indulgent writing by the dialogue writers in parts. Editing went almost unnoticed, which speaks volumes about the editing and editor being in a fine time and space with her work.

Visually, Aamis is written by the pen as well as the camera quite stunningly. Very economical in shot selection, no overindulgence of beautifying unnecessarily and quite to-the-point Riju Das, except on a few occasions when aesthetics of what we get to see on screen has taken over what we need to feel in a time and space. The music and sound teams have to be mentioned at the same time because they've cohesively created the ripple effects. Musically, it reminds a bit of the 'In the mood for love' zone, with the 'Moi Bujisu' track - which is not to question the originality but to appreciate the effect of the soundtrack @Quan Bay. 'Jajabori' is a few moments of sheer magnetic vocal baritone as well Rishi Bora. Rest of it, is all about the person behind sound working almost like another camera @Gautam Nair, creating visuals with sound.

Cast- Neetali Das and Sagar Saurabh - you were both outstanding in parts and very very decent in the other parts if not outstanding throughout. Supporting cast is called the supporting cast for a very valid reason and both of you were up to it.

Cameos by everyone else including Utkal Hazowari Sunayana Dutta @Manash Das, @Rakesh Medhi, D'com Bhuyan and in fact, all characters are well justified by their economic yet impactful delivery.

Which brings me to the conclusion that this indeed is a director's film. If almost everything in a feature is so well delivered, then there has to be a special person maneuvering everything from behind. Bhaskar HaZarika - many congratulations and thanks so much at the same time for Aamis. You wrote a story with such mixed layers of ambiguity and clarity on your mind, paper and the screen that you are the hero of this entire thing. Shyam Bora and Signum Poonam Deol - you both prove that producers can make or break it! There're no other ways about it.

And now, the Romeo and Juliet of Aamis-

Arghadeep Barua - Suman is so endearing, so full of innocence, so giving, so crazy yet so gullible, a PhD scholar yet so naive that you've created your own grave with your brilliant performance- you'll be always remembered and compared for this portrayal as a reference point. Every woman would want a lover as giving as Suman yet nobody would dare to be a Suman.

Lima Das - Nirmali is what Suman is not. Nirmali is the fork to Suman's hand but Nirmali is the one who would hold Suman's hand. Such contradictions, such complexity and then such natural adaptability to all that. An emotive and mobile face, fine voice modulation and that pair of eyes, a wonderful confusion between the sea and the sky- they love to love, kill and eat and no one would say 'no'.

@Anurag Kashyap 2.0 - huge gesture to present it and let it bear your encouraging name.

Originally published on Facebook: https://www.facebook.com/photo.php?fbid=10157484443501488&set=a.10150501896041488 

I have never seen such a movie in my life time: Vineet Jha

What's challenging about AAMIS is that, Its that kinda movie that is very hard to even put a review !! This was something that I had never seen or expecting to see. The film took me by surprise. Okay for those who want it very short and crisp - AAMIS is magic Rating 5/5 !!
AAMIS is one of the best or probably the best Assamese movie ever ! I have never seen such a movie in my life time.Honestly it is that kinda movie which cannot be compared to any other cinema. High recommendation for this incredible film.

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কিছুমান মৌলিক প্ৰশ্নৰ সন্মুখীন কৰাই দিছে: Wazid

'আমিষ' (spoiler alert!)

নৈতিকতা, ভাল-বেয়াৰ সংজ্ঞা, সাংস্কৃতিক মূল্যবোধ - এই আটাইবোৰ সামাজিকভাৱে নিৰ্মিত (socially constructed)। এই বিভিন্ন সামাজিক নিৰ্মিতিসমূহ আমাৰে সামাজিক সংৰচনাৰ (social structure) মাজত গঠিত, যিয়ে নিৰন্তৰ অৱদমনেৰে আমাক, আমাৰ কাৰ্যকলাপক, বোধ আৰু তাৰ সামাজিক উপস্থাপনাক নিয়ন্ত্ৰণ কৰে। এই 'নিয়ন্ৰণ'ৰ মাজেৰে আমি আমাৰ পৰা আকাংক্ষিত (expected) প্ৰচলিত 'সামাজিক ভূমিকা' পালন কৰো, আৰু সামাজিক (তথাকথিত 'ভাল') স্বীকৃতি পাঁও। ইয়াৰ বিপৰীতে, সামাজিক অৱদমন অগ্ৰাহ্যৰে আকাংক্ষিত ভূমিকাক নস্যাৎ কৰি (যিটো সহজ নহয়, একেবাৰে) আমি চিনাক্ত হৈ পৰো 'অসামাজিক' ('বেয়া') ৰূপে। আমিষৰ শেষ দৃশ্যত মূল চৰিত্ৰ দুটাই প্ৰত্যাশিত সামাজিক ভূমিকাক নস্যাৎ কৰাৰ ফলস্বৰূপে চিত্ৰিত হৈছে 'নৰখাদক/কদৰ্য' দুটি অসামাজিক প্ৰাণীস্বৰূপে। ইয়াতে 'নৰমাংস' ভক্ষণেৰে সামাজিক বান্ধোনৰ তীব্ৰতাক চৰিত্ৰ দুটিৰ এক প্ৰত্যাহ্বান হিচাপে চাব পাৰি। অৱশ্যেই ই subjective, সকলোৰে বাবে ইয়াৰ বিশ্লেষণ ভিন্ন হ'ব। সেয়েহে বহুতৰ বাবে 'কদৰ্য' যেন লগা এই দৃশ্য অন্যসকলৰ বাবে সাধাৰণ, কোনো ধৰণৰ অসুবিধাৰ অবিহনে সহজে হজম কৰিব পৰা ধৰণৰ। এইখিনিতে, আমাৰ ধাৰণাসমূহৰ নিৰ্মাণ কেনেকৈ হয় সেয়াও বিচাৰযোগ্য।
আমিষ মূলত এই সামাজিক অৱদমন আৰু এই অৱদমনেৰে পৰিচালিত আমাৰ ব্যক্তিগত আৰু সামাজিক ভূমিকা (personal and public) আৰু ইহতঁৰ আন্তঃসম্পৰ্ক আৰু অন্তৰ্দ্বন্দৰ কাহিনী।
ভিন্ন দৃশ্যত মূল চৰিত্ৰ দুটাই ইজনে সিজনৰ আঙুলি স্পৰ্শ কৰিবলৈ লৈও বাৰে বাৰে ৰৈ যোৱা, - ই সেই তীব্ৰ সামাজিক অৱদমন আৰু ইয়াৰ দ্বাৰা সৃষ্ট নৈতিকতা, ভাল-বেয়া ইত্যাদি ব্যক্তিগত অন্তৰ্দ্বন্দৰ চিত্ৰণ। লাহে লাহে গঢ় ল'বলৈ আৰম্ভ কৰা মূল চৰিত্ৰ দুটাৰ মাজৰ সম্পৰ্ক আৰু ইয়াৰ মাজে মাজে চিনেমাখনত বাৰে বাৰে উচ্চাৰিত হোৱা 'পৰকীয়া প্ৰেম'ৰ উল্লেখ তথা খাদ্যৰ (মূলত মাংস) ভৌগোলিক, সাংস্কৃতিক প্ৰেক্ষাপট অনুসৰি normal আৰু abnormal ধাৰণাৰ প্ৰকাশে আমিষৰ মূল বক্তব্যক স্পষ্ট কৰিছে। এইখিনিতে আমিষে 'অসমীয়া চিনেমা'ৰ ভৌগোলিক আৰু সাংস্কৃতিক পৰিসৰৰ পৰা মুক্ত হ'ব পাৰিছে আৰু কেৱল চিনেমা (শিল্প) হিচাপে ধৰা দিছে। আমিষৰ প্ৰথম সফলতা এইয়াই।
দ্বিতীয়তে, আমিষে যদি দৰ্শকক অস্বস্তিত পেলাব পাৰিছে, দৰ্শকক comfort zoneৰ পৰা উলিয়াই আনি প্ৰশ্নৰ সন্মুখীন কৰাব পাৰিছে তেন্তে সেয়া ইয়াৰ দ্বিতীয়টো সফলতা।
অন্তিম দৃশ্যত যেতিয়া ৰাইজৰ আগত, 'অপৰাধী' হিচাপে চিন্থিত হৈ (বেকগ্ৰাউণ্ডত ৰিপৰ্টাৰ কেইগৰাকীৰ ভাষ্য বিশেষভাৱে উল্লেখযোগ্য) মূল চৰিত্ৰ দুটাই অৱশেষত ইজনে সিজনৰ হাতদুখন স্পৰ্শ কৰে, ই সেই তীব্ৰ সামাজিক অৱদমনক জনোৱা প্ৰত্যাহ্বান স্বৰূপে এটা অতি শক্তিশালী দৃশ্য (ফ্ৰেম) হৈ ৰৈ যায় দৰ্শকৰ মনত।
আমিষ চাই ভাল পোৱা অথবা বেয়া পোৱা, ই বিভৎস নে অন্য কিবা - এইবোৰ দৰ্শক অনুযায়ী ভিন্ন। সেয়া মূল বিষয় নহয়। কিন্তু আমিষ এখন গুৰুত্বপূৰ্ণ চিনেমা, কাৰণ ই আপোনাৰ মোৰ প্ৰচলিত ধাৰণাত এটা কোব শোধাইছে আৰু আমাক কিছুমান মৌলিক প্ৰশ্নৰ সন্মুখীন কৰাই দিছে (ইয়াত নৰমাংস ভক্ষণৰ কথা কোৱা হোৱা নাই!)।

Originally published on Facebook: https://www.facebook.com/story.php?story_fbid=221311322198880&id=100029600401421

Wildly original and Deliciously Twisted: Zeenat Farheen Yasmeen

Once in a while people yearn for an extra-ordinary movie plot-line amidst common theme or movie remakes from Hollywood to Bollywood or Tollywood to Bollywood which in some manner makes a person lose interest towards the habit of watching cinemas. Last month, I happened to come across the trailer of AAMIS played during a movie interval and I was surprised to see that it was an Assamese movie. After coming back home I started researching about what Aamis is really about and was stunned while going through the reviews as it made me more engrossed and I decided to watch it once it got released. The movie started off with a great deal of simplicity and any other love story as like the actors depicting common Assamese people and our society. The wildly, original and deliciously twisted "Love Story" portrayed by Arghadeep Barua, a Ph.D. student and Lima Das, a pediatrician and a married woman made the audience crave for more as every minute passed by. Their forbidden love was what made this film more engrossing as narrated by director Bhaskar Hazarika that the plot is an exploration of sensuality through food by breaking free from their monotonous lives and leaving behind the thoughts people assumed of "Extramarital affairs". The friendship with hidden feelings gets further as they find out about one another which takes us on a voyage of investigation with them, which they may stay away forever from. Saying much else would take away from that bizarre and haunting climax of the film. This is a sincerely thick and genuine film with a ton of concealed layers. This sort of result must be accomplished just when you can get totally knockout exhibitions from your cast. So, I was shocked when I discovered that both the leads of the film were debutants. Going to the technicalities of the film, Riju Das' cinematography is wonderful yet never showy. Minutes of moments join tastefully satisfying pictures with splendid music by Quan Bay and sound plan to highlight the sentimentalism of the entire piece. Overall, Aamis happened to have my heart yearning at the last scene as well as the whole 120 mins was a satiating experience and I wouldn't hesitate to appeal to people to go and watch this marvelous piece of work of the Assamese Industry. Kudos to the entire team of Aamis with a movie made that can be rated 5/5.

Originally published on Facebook: https://www.facebook.com/photo.php?fbid=2618583178188591