The God of Infinity
Directed by Ravi Nimbalkar | Review by Panchali Kar
[dropcap]T[/dropcap]he God of Infinity by Ravi Nimbalkar gives infinite possibilities to viewers when it comes to interpreting the topic. Very smart presentation with asynchronous storytelling keeps the viewer glued to the screen. The vicious cycle of Ouroboros has been well depicted in the movie by repeated frames and repeated dialogues.
The movie begins with two high walls running parallel to each other; they resemble two straight lines extending to meet each other and tending to infinity. This mimics the idea of different characters tracing their paths along the walls and taking different roads towards the unknown. Brilliant use of long shots and bird’s-eye view minimizing the size of human figures in the frame gives an idea how tiny we are in front of the gigantic universe that surrounds us.
Infinity here is a personification of God, derived from ancient mythology and folklore. The background of the subject and the connection between ancient and modern times run as a soliloquy throughout the length of the film. A blessing, a curse, a boy abandoned by his father, a newborn, everyone and everything falls in the vicious circle encompassing their lives. The characters, interestingly, are drawn roughly and plunged into the midst of the incident, with almost zero background in the beginning, followed by a very brief introduction as the story unfolds. This strategy holds the curiosity of the audience. Surprisingly, the tunes played on the radio become an important subject in the story, adding to the plot progression. The song requests mix perfectly with the mood of the instance. The incidents, the frames, even the dialogues repeat themselves more than once to maintain the circular structure of the story development.
The span of 20 minutes has been further divided into quick chapters and each of these chapters has been separated by a sketch, a visual illustration that merges with the main topic through various avenues: mythology, philosophy, symbolism, logical reasoning, transcripts from the texts, as well as mathematics. The interrelationships between science and philosophy have been well established by these filler shots. The entire story representation is highly symbolic.
The story building being the hero of the film, the actors did not have much to do but to assist the story while it takes its course, twists and turns. The cinematography has been very relevant with the context of establishing infinity; the vastness has been recreated again and again, frame by frame. The editing division aptly supports the story and the cinematography. The sound designing has been interestingly done by recreating ambiance sound and noise through stock sound, while the use of music is minimal. However, there is a certain possibility of color correction which would give more depth to the frames. Overall, this is a good movie – an experiment gone correctly with a satisfactory outcome.
Panchali Kar is a Dancer, Choreographer, Actor and Filmmaker. In addition, Panchali is a devout advocate for egalitarian social change, is affiliated with the NGO, Responsible Charity and currently working on a photo documentary on LGBT rights. She is an avid scholar and veteran of the performing arts and a seasoned instructor. Panchali maintains several degrees in the Arts including a M.Mus degree. Ms. Kar is also affiliated with AKTO, a Kolkata theater group based in the city in which she resides.