Safed Review : Over-the-top narrative takes away from a sensitive subject’s impact

Story: Shunned by society, a young widow and a transgender person from Varanasi find solace in each other. But will such an unconventional relationship be accepted?

Review: Written, directed, and produced by Sandeep Singh, Safed is based in Varanasi, where a transgender person, Chandi (Abhay Verma), and a recently-widowed Kaali (Meera Chopra), are struggling to come to terms with their reality and bleak lives. They represent two different groups with a common factor — ostracism. The movie draws a parallel between their lives and how each is forced to accept the harshness of their existence. While Chaandi refuses to succumb flesh trade on Guru Maa (Jameel Khan) and Radha’s (Barkha Bisht) insistence, Kaali leads a colourless life with a group of older widows led by Amma (Chhaya Kadam).

As the story progresses, Chaandi finds a companion in Kaali when she saves the former from drowning. Pretending to be a man called Chaand, Chaandi is happy to receive respect, love, and acceptance. Given its unconventional nature, one would expect the story to pivot in the direction of their relationship and how it will pan out. However, the equation is not entirely built, and this promising premise does not reach its potential due to the narrative’s inconsistent flow. The story flits between their equation and Chaandi’s life as a trans person.

The film aims to portray how widows and transpersons are treated by society. However, the portrayal seems lopsided as it focuses on the transperson being mistreated while the widows’ experiences in society remain largely unexplored. The narrative primarily hinges on melodrama and loud dialogues mouthed by the troupe of transpersons. The depiction overuses expletives and graphic scenes that will make the viewer squirm. Still, some portions are thought-provoking — like the third gender blessing a newlywed couple, or a newborn baby is considered auspicious, yet their birth in a household spells doom.

Showing similarities between Kaali and Chaandi’s respective realities through a conversation when they complete each other’s sentences and Chandi’s empathy for the widows are some of the good moments in the movie. Many elements seem forced, such as Chaandi falling victim to a crime and playing Holi with the widows. The climax is overstretched and heightens the drama.

Anirban Chatterjee’s cinematography deserves mention. He captures the ghats of Varanasi well. The Holi sequence and the Hijra community’s festival, where they mourn the death of the warrior Aravan, are shot well.

Abhay Verma makes his big-screen debut as Chaandi/Chaand and gets the mannerisms of a Hijra right. Meera Chopra and Barkha Bisht deliver serviceable performances. However, every actor often goes overboard in their expression and portrayal of their respective characters.

Safed’s concept must have been good on paper but falls short at the execution level. A good thought turns more sensational than sensitive, and the over-dramatisation takes away from its impact.