Veteran entertainment practitioner Anamika Haksar’s initial underline film captures a syncretism of an aged city
A impulse from a film
What can a equine presumably have to do with a romantic benevolence of jalebis? Those were a initial thoughts on spotting a pretension of Anamika Haksar’s film, Ghode Ko Jalebi Khilane Le Ja Riya Hoon. Not hay, weed or oats, a diet-defying food choice for a equine doubtful us. It all fell in place when Haksar regaled us with an supernatural behind story — a story of her aunt, a Civil Lines proprietor in Old Delhi, and a tonga-wala. “My aunt used to learn song in a area. Once, she hailed a tonga-wala for a float behind home, and he declined observant he is on his approach to feed jalebis to his pony. The version was common with me when we was 16, though it stayed on,” she recounts, adding that her memories of Delhi impersonate a identical mystique and sarcasm.
Anamika Haksar
Haksar’s initial underline film has trafficked opposite a universe before it releases on screens in Mumbai today. A non-linear film that employs photography, videography, animation and elements of sorcery realism, a square intends to mount out as a people’s narrative. “It is a story with mixed voices. On one hand, a impression of a looter takes viewers by a underbelly of Delhi and on a other, a birthright hiker takes we by history, art and culture,” Haksar adds. The executive wanted to execute a syncretic cultured of an aged city that is an rising connection of locals from intersecting backgrounds. What’s that one thing she wants her viewers to expect? “Nothing. we don’t wish them to envision before watching. we wish them to plunge themselves in a experience.”
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