| 1 | '''Indradhanura Chhai''''''''' |
| 2 | |
| 3 | |
| 4 | aka The Shadows of the Rainbows |
| 5 | 1993 112’ col Oriya |
| 6 | d/co-s Sushant Misra pc Visual Link p Janapriya |
| 7 | Debata co-s Devdas Chhotray c Jugal Debata |
| 8 | m Vikas Das |
| 9 | lp Robin Das, Vijaini Misra, Surya Mohanty, |
| 10 | Muktabala Rautray, Bidyut Lata Devi |
| 11 | |
| 12 | |
| 13 | With hypnotic visual rhythms and a remarkable |
| 14 | mise-en-scene of emotional tonalities, Mishra |
| 15 | shows the lives of three women living in the |
| 16 | modernising town of Bhubhaneshwar, its |
| 17 | skyline still dominated by magnificent temple |
| 18 | architecture. Vijaya’s husband died a few days |
| 19 | after their wedding and she does not know |
| 20 | how a woman in her situation can cope with |
| 21 | her tender feelings for a kind local teacher. Her |
| 22 | friend Sonia provides a graphic example of a |
| 23 | woman desperately torn between modernity |
| 24 | and traditional notions of female virtue, while |
| 25 | Aunt Nila has difficulty facing up to the ageing |
| 26 | process. The film tells its tale by way of |
| 27 | meditative sequence shots and framings which |
| 28 | constantly remind viewers of the conflictual |
| 29 | existence of the forces of life (luscious trees, |
| 30 | plants and other signs of irrepressible life) with |
| 31 | the dry, decaying monuments of an outdated |
| 32 | but still suffocatingly dominant premodern |
| 33 | society, its oppressiveness as well as its |
| 34 | achievements graphically represented by the |
| 35 | ever-present temple spires. |
| 36 | |
| 37 | [[Film]] |