Fairy Folk Review: Unlike Anything You’ve Seen Before

a poster of fairy world, (Etiquette: Rasikadugal,

Its quirks abound, but its determination to take a dig at established conventions of Bollywood storytelling fits Karan Gaur’s second narrative feature perfectly. fairy world, The quirky and provocative magical realist film is rooted in the here and now – in the home of a married couple – even as it makes its way into uncharted territory.

Dealing with one of the oldest themes known to cinema – the man-woman relationship in the institution of marriage – Gaur and his two exceptionally accomplished lead actors, real-life couple Rasika Duggal and Mukul Chadda, create a free-flowing and Have brought an impressive film. The dissolution of a marital union derailed and struggling to rekindle the old spark.

More funny than wild, more rock-solid spicy than hardcore trippy, fairy world The soul is fundamentally free in substance and execution. Overall, there is absolutely no self-consciousness in the way it constructs the marriage story, which treads into territory where anything is possible, as the actors are free to let their instincts take over whenever they wish. There is a lot of scope for innovation in the script written by Gaur himself.

Gaur’s first film, critically acclaimed Kshay (2011) was also set within the confines of a marriage. Using understated, even understated methods, it explored a woman’s yearning for something that is beyond her and her husband’s means. Fairy Folk proceeds in much the same way, adding a series of cheekily creative adventures to the enterprise. It’s a delightfully unpredictable exercise that derives its power from a story that pushes boundaries and a cast of actors who go with the flow.

Gaur, a composer and sound designer whose credits (besides his own Decay) include NH10 and Titli, brings his sense of rhythm on display on Fairy Folk. This is reflected not only in the way the film unfolds but also in the numbers it pairs the soundtrack with.

Duggal and Chadda, speaking a mix of English and Hindi like urban couples in India, are absolutely excellent. They do a fantastic job of adding subtle and powerfully engaging layers to a performance built around the unexpected turns their dysfunctional relationship takes.

Ritika (Dugal) and Mohit (Chadda) stumble upon a ‘creature’ on a deserted road in Mumbai – a completely isolated place in a megacity is a conceit in itself that could only exist in the realm of semi-imaginary nature Can. The creature has human form, has no genitals, does not move unless touched, and eats soil and insects. This is all until Mohit begins to shake the creature out of its stony stupor.

However the actors – the supporting cast includes Nikhil Desai as the mute creature (there is a moment when ‘it’ breaks into completely understandable Hindi) and Asmit Pathare and Chandrachur Rai – as it goes along, What seems to be improving, above everything else among the Fairy Folk is the persistence of the logic of the words they speak, the actions they perform, and the many changes that occur within them.

When Ritika and Mohit’s car breaks down they encounter the strange creature, forcing them to abandon their personal vehicle and hail an online cab – yet another escape for the couple from a known, comfortable place. Metaphor. The creature follows the couple home.

Breakdown is the operative word here because it’s not just a car that has stopped. The unexpected and impossible situation that forces Ritika and Mohit to confront a reality that stands before them outside the safety of their tranquil environment – of course, they have no way of knowing what they’re getting into. Yes – this is the main turning point of the story.

This happens early in the film but the shadow of the encounter remains throughout the film. The creature that comes home is the elephant in the room which Ritika and Mohit can no longer ignore. But do they really know what is missing from their lives and what they need to address?

It’s not clear until about a third of the way into the film that Fairy Folk is about a dysfunctional marriage trapped in the web of dead habit. It is disrupted in a way that neither the onscreen pair nor the audience can imagine or immediately understand. The film continues to defy expectations and move forward.

At first glance, there doesn’t seem to be anything seriously wrong with this couple, although there has been a palpable disinterest in how they engage with each other on a day-to-day basis. His words convey a sense of fatigue. The communication between the two appears to hit a hard wall and then hang invisibly in the air around them.

It is nowhere else at night that Ritika and Mohit find themselves face to face with something that shakes their existence to its core. Genuine affection and passion – two qualities that have been banished from their lives – turn into a series of tangential and spontaneous discussions like the one that went off between the two.

It requires the support of a pair of surprisingly indomitable performances and a secondary cast that is well aware of where the story is headed, which is supported by Gaur’s wonderfully flexible, extremely unflinching approach. Gives shape to the opposing story. fairy world,