Jabya (Somnath Avghade), the film’s dark-skinned protagonist, is an awkward yet winsome teenager from a Dalit family who lives in a shack at the fringes of the village. Set in Akolner, a tiny village near Ahmednagar, Fandry portrays the dichotomous rural India of today, where a public toilet is a luxury but a touch-screen Android phone is almost ubiquitous. After all, it arrived at the 15th Mumbai Film Festival with positive-yet-restrained buzz (read: you could get into a screening without having made a reservation) and emerged triumphant, by coming second in the international competition. Read more at: What makes Fandry a remarkable achievement is that it is an underdog film about an underdog. A charming love story set against the backdrop of a poor village in arid Maharashtra, this is a film that builds up to its final shot – destined to be iconic – with little manipulation or foreboding. Fandry, Nagraj Manjule’s charming debut feature, follows the same recipe, certifying the National-Award-winning Marathi short filmmaker and poet as an auteur to watch out for. A great film is often remembered by its final shot, as every great filmmaker from Orson Welles to Christopher Nolan has known and demonstrated only too well.
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