Barah By Barah Story :-
In Varanasi’s Manikarnika ghat, a “death photographer” faces the stark reality of life’s transience. His profession, centered around capturing the final image of the deceased before cremation, is gradually fading into obscurity with the advent of smartphones. As he grapples with the diminishing relevance of his work, he confronts not only the loss of meaning in his profession but also the looming necessity of relocating for a more secure future.
Barah By Barah Release Date, Trailer, Songs, Cast
| Release Date | 24 May 2024 |
| Language | Hindi |
| Genre | Drama |
| Duration | 1h 48min |
| Cast | Gyanendra Tripathi, Geetika Vidya Ohlyan, Harish Khanna, Bhumika Dube, Akash Sinha, Aashit Chatterjee, Prithvi Singh |
| Director | Gaurav Madan |
| Writer | Sunny Lahiri, Gaurav Madan |
| Cinematography | Sunny Lahiri |
| Music | Neil Mukherjee |
| Producer | Sunny Lahiri, Gaurav Madan, Jignesh Patel |
| Production | Amdavaad Pictures, Last Joker Pictures |
| Certificate | A |
Barah By Barah Review :-
Writer-director Gaurav Madan and co-writer/cinematographer Sunny Lahiri delve into life’s transience through the lens of a death photographer named Sooraj (Gyanendra Tripathi). Their collaboration expertly captures the essence of the ancient town, translating its unhurried pace into the deliberate pacing of the narrative. With minimal background music and dialogue, the film unfolds quietly, inviting viewers to reflect on its deeper themes.
The film’s strength lies in its understated storytelling. Despite simmering internal conflicts, Madan and Lahiri craft a narrative that unfolds with subtle intensity. Sooraj’s wife, Meena (Bhumika Dube), offers steadfast support while maintaining a grounded perspective, acknowledging the necessity of change. Meanwhile, Sooraj’s sister, Mansi (Geetika Vidya Ohlyan), resides in Delhi, causing a strain in her relationship with their father, Parbat (Harish Khanna). These dynamics are conveyed not through overt dialogues or dramatic scenes but through nuanced characterization.
All the characters stand at the threshold of transformation. Sooraj transitions from capturing the deceased to photographing weddings and the living. His friend Dubey (Akash Sinha) contemplates leaving behind his visits to a brothel to pursue marriage and employment, having protested through the narrow lanes of Kashi. The terminally ill Parbat may soon depart for the afterlife, while Mansi prepares for marriage.
Observe the significance of the different cameras depicted throughout the film, symbolizing the changing times and Sooraj’s evolution. From a photographer concealing his compact digital camera to Sooraj utilizing a DSLR, and from a man snapping a smartphone photo of a relative’s final rites to professional photographer Tathagata (Aashit Chatterjee) capturing the world through his telephoto lens, each camera reflects a shift in perspective and technology.
The cast delivers impeccable performances, embodying a subtle tone with their nuanced acting. Gyanendra Tripathi and Bhumika Dube shine as a loving couple, displaying a deep bond and mutual appreciation. Geetika Vidya Ohlyan impresses as an empowered woman and devoted sister, exuding strength in her portrayal. Harish Khanna’s portrayal of a traditional man is compelling and impactful.
Although the film’s deliberate pacing and absence of flashy visuals may appear sluggish to those accustomed to faster narratives, it offers a reflective journey for patient viewers, delving into themes of transformation, mortality, and familial relationships with a meditative approach.
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