NASIR movie review is here. The Tamil movie directed by Arun Karthick, starring Koumarane Valavane was premiered at the International Film Festival of Rotterdam in Tiger Competition and won the NETPAC award for Best Asian Film premiering at the Festival. The Asia premiere of NASIR begins today – May 6, 2020 till May 7, 2020 as part of MAMI Year Round Programme Home Theatre.
Immediate reaction when the end credits roll
When silence speaks in volumes, Arun Karthick’s NASIR is a sharp mirror of times we are in. This little gem attains its genius in speaking less but saying more in its cry for humanity that questions faith, fate, prejudice, divide and more.
NASIR movie review
NASIR – Arun Karthick’s predominately humane film on the dominating inhuman divide created by religion takes its pride in its secular humanitarian approach by adapting the micro macro approach. Adapted from author Dilip Kumar’s A CLERK’S STORY, NASIR is about a Coimbatore Muslim Nasir (Koumarane Valavane – pure brilliance) a simple man living a simple life, his struggles, how he copes with his shortcomings and maintains patience. It’s difficult for any ‘common’ man but it gets more difficult for a ‘tolerant’ human like Nasir in the world we live in. He wakes up with the Azan and pecks a kiss on the lips of his wife Tal (Sudha Ranganathan), his day begins with the loudspeakers from different area talking about the glory of their faith. The area and faith keeps on changing but the speeches coming out have a ‘common’ agenda. Nasir is never perturbed by what is happening around him – the world. He finds solace in his poetry, Ilaiyaraaja, thumris, ghazals. Nasir works in a shop owned by a Hindu. Nasir cleans the idols of Hindu gods, put bindis on those mannequins. The bindi, the shop, the dusting on the idols of Hindu gods resembles the secular nature of the surrounding. The atmosphere is lamentably spoiled by his Boss who supports the right wing Hindus.
Arun Karthick brilliantly in the movie uses dialogues, sounds to depict the prevailing hatred. The silence observed when Nasir’s Boss ends his hatred on phone and the silence observed before the end credits is pure genius.
Nasir is like many Indians, humans who think rationally but their voice, desires are getting crushed, murdered by this narrow minded thinking that purely survives on hatred.
Nasir is hopeful, he is hoping against hope. He is not against the system in spite of the venoms spread against his community. In the age of smart phones, Nasir writes love letters to his wife and his letters are laced with poetry.
Not the danger of his religion which is wrongly said to be under threat, Nasir is bothered about his ‘family’. His ailing mother, his adoptive son Iqbal – a special child.
Arun Karthick consolidates his mark as a filmmaker with solid substance in NASIR after the astonishing debut with SIVAPURANAM (2016).
Quite interestingly, NASIR made me travel through Ghalib and reminded the meaning of OM from its message of secularism during its silence before the end credits. Starting with Mirza Ghalib’s words on the world becoming a mad play ground. Bazeecha-e-itfal hai duniya meray aage, Hota hai shab-o-roz tamasha meray aage, (the world is a children’s playground before me, night and day, this theatre is enacted before me). Arun Karthick’s NASIR bout a Muslim makes a quiet but haunting plea on humanity and equality with a chorus that echoes. Nasir (which means defender, supporter in English) in his silence makes us utter the word OM. OM – the epitome of silence and the loudest sound that can create a big noise inside.