It would be easy, accurate, and a little reductive to call Ritwik Ghatak “the poet of Partition.” But it’s inescapable. Ghatak’s films are obsessed with that existential trauma, even in something like previous Counter-Programming entry Ajantrik. Here is a guy who can make a love story about a man and his car, a sort of fart-filled Herbie, and still conjure up deeply-felt anxieties about colonialism and territorial integrity.
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