\nAmitava Nag, Anwesha Deb, Partha Sarathi Raha, Sambaran Sarkar, Subhadeep Ghosh<\/span><\/p>\n
Things that worked<\/h2>\n![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-by-Ildik\u00f3-Enyedi.jpg\")
\u2018On Body and Soul’<\/em> by Ildik\u00f3 Enyedi<\/p><\/div>\nSilhouette<\/em> members as a group agreed that the melancholic mood of the film has been excellently captured and consistently delivered. It resulted in a rare calm film-viewing experience even if there were a lot of blood and cruelty prevalent on the surface. The duality between the \u2018body\u2019 and the \u2018soul\u2019 has been captured with poignant intensity. The man with a disability in his arm and the woman with a differently enabled mind could meet only in a shared dream. They complement each other with deep sensibilities and both try to overcome the \u2018shortcoming\u2019 to form a collective whole.<\/p>\nThe \u2018duality\u2019 is masterly constructed through gripping imageries and seamless but repetitive transition between different spaces – of dream and reality, of the canteen where connection of souls take place immediately preceded or followed by the shots of the slaughter room where bodies disintegrate.<\/p>\n
What struck equally was the connotation of the cows in the slaughterhouse, the deer in the dreams.<\/p>\n
Partha found the image of the cow slaughter with wide, black eyes quite haunting.\u00a0For Subhadeep it was the duality of \u2018body without soul\u2019 vs \u2018soul without body\u2019 and how both are finely balanced without being melodramatic.<\/p>\n
For Anwesha the seamless mingling of dreams and reality was a journey in itself. \u00a0She observed the duality of \u2018body\u2019 and \u2018soul\u2019 is portrayed through Endre being physically challenged with a dysfunctional hand yet sharp mental faculties and Maria possessing physical beauty yet exhibiting autistic behaviour. The film takes Anwesha on a journey with apparently dissimilar characters who are drawn together first by their common dreams and finally they seem to complement each other in a harmonious relationship.<\/p>\n
![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-film.jpg\")
The contrast between the green trees and the white snow-covered ground during one of the dream sequences.<\/p><\/div>\n
Subhadeep observed that although the dream sequences lack the usual absurdity but they are fully convincing and never appear to be artificially imposed. Partha further commented on the latent brutality engraved in the apparent calmness of the film\u2019s tenor that created the conflict as intrinsic as the one on which the film\u2019s concept delves and delivers.<\/p>\n
For Amitava the entire Christian reference of \u2018body\u2019 and \u2018soul\u2019 as depicted in the film is illuminating.\u00a0 The positioning of \u2018man\u2019 as the bearer of \u2018soul\u2019 within the \u2018body\u2019 as compared to inferior animals (cows in this case) is captivatingly portrayed in the eerie silence of the slaughter-house.<\/p>\n
Partha further commented that it is striking how another character\u2019s dream also revolved round an animal that united the people to the central theme of vulnerability and connection. In the process there is a hinting for potential stories beyond the real frames. For Amitava, deer in the dream sequences also hold spiritual connotations \u2013 the deer were on their own, free as opposed the cows who were controlled, regulated and made to wait to be slaughtered, the deer represent the \u2018soul\u2019 for Amitava.<\/p>\n
Things that didn\u2019t work<\/h2>\n
Anwesha thought that the scene of Endre with his daughter didn\u2019t lead to anything, an irrelevant extra. For Subhadeep the film\u2019s ending was predictable as it forges to a communion. For him the suicidal attempt of Maria was probably a bit staged just to bring a dramatic element to foster the film to its end. Amitava disagreed, for him the profiling of Endre didn\u2019t allow him to suddenly withdraw from Maria \u2013 that was silently done and the dramatic element was delivered with the suicidal attempt later on. But given the way Endre was compassionate about the HR Manager or his apologizing to the new Casanova of the factory for being rude his abrupt realization seemed a bit contrived.<\/p>\n
For Partha the way two psychologist characters were portrayed and the director\u2019s wish to show their vulnerability as well didn\u2019t work out fine whereas for Sambaran that added new dimensions only. He however felt that the monologues of Maria with the salt and pepper shakers seemed melodramatic.<\/p>\n
![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-monologue.jpg\")
Monologue of Maria after her first meeting with Endre<\/p><\/div>\n
Parts of On Body and Soul<\/em> that will be remembered<\/h2>\nFor Partha the twilight shot of Endre and Maria waiting for a train in a lonely platform is very cinematic.<\/p>\n
![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-movie.jpg\")
Maria and Endre wait for train after a session with a psychologist \u2013 vibrant colours providing promise of a bright future.<\/p><\/div>\n
Amitava found two scenes very memorable \u2013 the one where the antler deer was running (they were never running before this, as if to run away from a \u2018reality\u2019) alone depicting the change in their shared dream psychosis.<\/p>\n
The second one is a very sensitive, soft portrayal where Maria just moves a step back as if to hide herself from the rays of Sun. Quite unknowingly she was being looked at by Endre from his office.<\/p>\n
![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-stills.jpg\")
Maria steps back to avoid the Sun\u2019s rays as Endre looks at her from his office<\/p><\/div>\n
For Anwesha the dream sequence just after Endre and Maria discovered that their dreams were same \u2013 the deer coming out of a green forest into a white, snow-covered field was contrasting and signifying that something beautiful and lively (the green trees for the first time in their dream) would be happening in their lives. For Sambaran the shot where the female deer looks at the vacant place\u00a0in front of her where the male deer was supposed to be present seemed memorable.<\/p>\n
Subhadeep remembered a completely different context, the apparently comical restaurant scene which was ironical of the modern urban reality and almost farcical.<\/p>\n
![\"On](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2018\/01\/On-Body-and-Soul-movie-stills.jpg\")
A deserted restaurant which Endre emphasized to be full of people earlier<\/p><\/div>\n
The other texts (films or otherwise) which come to mind watching this<\/h2>\n
The film is unique in the sense it doesn\u2019t evoke distinct references with any other film or text. Sambaran recollected however the differences with Kim Ki Duk\u2019s Dreams<\/em>. Subhadeep got reminded of the Indian film Lunchbox<\/em> by Ritesh Batra for the similarity of communication between two characters. However Lunchbox<\/em> had a very Indian setting unlike this film.<\/p>\nAmitava recollected Siddhartha Siva\u2019s Indian film Ain<\/em> in Malayalam which also dealt with a rural slaughter house. The innocent helplessness of the animals was portrayed in Ain<\/em> as well, some similar cinematic moments.<\/p>\nSilhouette rating: 7.2\/10<\/h2>\nContent: 4\/5<\/span>
\nCinematography: 4\/5<\/span>
\nSound: 3\/5<\/span>
\nOverall Appeal: 7\/10<\/span><\/h5>\n
\u2018On Body and Soul’<\/em> by Ildik\u00f3 Enyedi<\/p><\/div>\n Silhouette<\/em> members as a group agreed that the melancholic mood of the film has been excellently captured and consistently delivered. It resulted in a rare calm film-viewing experience even if there were a lot of blood and cruelty prevalent on the surface. The duality between the \u2018body\u2019 and the \u2018soul\u2019 has been captured with poignant intensity. The man with a disability in his arm and the woman with a differently enabled mind could meet only in a shared dream. They complement each other with deep sensibilities and both try to overcome the \u2018shortcoming\u2019 to form a collective whole.<\/p>\n The \u2018duality\u2019 is masterly constructed through gripping imageries and seamless but repetitive transition between different spaces – of dream and reality, of the canteen where connection of souls take place immediately preceded or followed by the shots of the slaughter room where bodies disintegrate.<\/p>\n What struck equally was the connotation of the cows in the slaughterhouse, the deer in the dreams.<\/p>\n Partha found the image of the cow slaughter with wide, black eyes quite haunting.\u00a0For Subhadeep it was the duality of \u2018body without soul\u2019 vs \u2018soul without body\u2019 and how both are finely balanced without being melodramatic.<\/p>\n For Anwesha the seamless mingling of dreams and reality was a journey in itself. \u00a0She observed the duality of \u2018body\u2019 and \u2018soul\u2019 is portrayed through Endre being physically challenged with a dysfunctional hand yet sharp mental faculties and Maria possessing physical beauty yet exhibiting autistic behaviour. The film takes Anwesha on a journey with apparently dissimilar characters who are drawn together first by their common dreams and finally they seem to complement each other in a harmonious relationship.<\/p>\n The contrast between the green trees and the white snow-covered ground during one of the dream sequences.<\/p><\/div>\n Subhadeep observed that although the dream sequences lack the usual absurdity but they are fully convincing and never appear to be artificially imposed. Partha further commented on the latent brutality engraved in the apparent calmness of the film\u2019s tenor that created the conflict as intrinsic as the one on which the film\u2019s concept delves and delivers.<\/p>\n For Amitava the entire Christian reference of \u2018body\u2019 and \u2018soul\u2019 as depicted in the film is illuminating.\u00a0 The positioning of \u2018man\u2019 as the bearer of \u2018soul\u2019 within the \u2018body\u2019 as compared to inferior animals (cows in this case) is captivatingly portrayed in the eerie silence of the slaughter-house.<\/p>\n Partha further commented that it is striking how another character\u2019s dream also revolved round an animal that united the people to the central theme of vulnerability and connection. In the process there is a hinting for potential stories beyond the real frames. For Amitava, deer in the dream sequences also hold spiritual connotations \u2013 the deer were on their own, free as opposed the cows who were controlled, regulated and made to wait to be slaughtered, the deer represent the \u2018soul\u2019 for Amitava.<\/p>\n Anwesha thought that the scene of Endre with his daughter didn\u2019t lead to anything, an irrelevant extra. For Subhadeep the film\u2019s ending was predictable as it forges to a communion. For him the suicidal attempt of Maria was probably a bit staged just to bring a dramatic element to foster the film to its end. Amitava disagreed, for him the profiling of Endre didn\u2019t allow him to suddenly withdraw from Maria \u2013 that was silently done and the dramatic element was delivered with the suicidal attempt later on. But given the way Endre was compassionate about the HR Manager or his apologizing to the new Casanova of the factory for being rude his abrupt realization seemed a bit contrived.<\/p>\n For Partha the way two psychologist characters were portrayed and the director\u2019s wish to show their vulnerability as well didn\u2019t work out fine whereas for Sambaran that added new dimensions only. He however felt that the monologues of Maria with the salt and pepper shakers seemed melodramatic.<\/p>\n Monologue of Maria after her first meeting with Endre<\/p><\/div>\n For Partha the twilight shot of Endre and Maria waiting for a train in a lonely platform is very cinematic.<\/p>\n Maria and Endre wait for train after a session with a psychologist \u2013 vibrant colours providing promise of a bright future.<\/p><\/div>\n Amitava found two scenes very memorable \u2013 the one where the antler deer was running (they were never running before this, as if to run away from a \u2018reality\u2019) alone depicting the change in their shared dream psychosis.<\/p>\n The second one is a very sensitive, soft portrayal where Maria just moves a step back as if to hide herself from the rays of Sun. Quite unknowingly she was being looked at by Endre from his office.<\/p>\n Maria steps back to avoid the Sun\u2019s rays as Endre looks at her from his office<\/p><\/div>\n For Anwesha the dream sequence just after Endre and Maria discovered that their dreams were same \u2013 the deer coming out of a green forest into a white, snow-covered field was contrasting and signifying that something beautiful and lively (the green trees for the first time in their dream) would be happening in their lives. For Sambaran the shot where the female deer looks at the vacant place\u00a0in front of her where the male deer was supposed to be present seemed memorable.<\/p>\n Subhadeep remembered a completely different context, the apparently comical restaurant scene which was ironical of the modern urban reality and almost farcical.<\/p>\n A deserted restaurant which Endre emphasized to be full of people earlier<\/p><\/div>\n The film is unique in the sense it doesn\u2019t evoke distinct references with any other film or text. Sambaran recollected however the differences with Kim Ki Duk\u2019s Dreams<\/em>. Subhadeep got reminded of the Indian film Lunchbox<\/em> by Ritesh Batra for the similarity of communication between two characters. However Lunchbox<\/em> had a very Indian setting unlike this film.<\/p>\n Amitava recollected Siddhartha Siva\u2019s Indian film Ain<\/em> in Malayalam which also dealt with a rural slaughter house. The innocent helplessness of the animals was portrayed in Ain<\/em> as well, some similar cinematic moments.<\/p>\nThings that didn\u2019t work<\/h2>\n
Parts of On Body and Soul<\/em> that will be remembered<\/h2>\n
The other texts (films or otherwise) which come to mind watching this<\/h2>\n
Silhouette rating: 7.2\/10<\/h2>\n
Content: 4\/5<\/span>
\nCinematography: 4\/5<\/span>
\nSound: 3\/5<\/span>
\nOverall Appeal: 7\/10<\/span><\/h5>\n