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What does it mean to be a gay man in India? Not India of urban metros, which has a more modern attitude towards the LGBTQ+ community; But the India that lives in villages remains deeply conservative religious and social norms. The idea of ’coming out’ is complex, as it involves battling family expectations and social pressure to get married and settle down.
In Rohan Parshuram Kanawade’s gentle and wonderful feature film, Sabar Bonda, the writer and director’s eye focuses on the story of two men from rural Maharashtra who realize their love for each other in adulthood, while still sharing a Are in confidentiality. This love knows no language of expression, so it must be hidden: from their families, from their relatives, and sometimes even from themselves. (Also read: Sabar Bonda director Rohan Parshuram Kanawade says queer characters from rural areas are not shown on screen)
Base
Kanavade’s protagonist Anand (Bhushan Manoj) is seen in a state of shock, as the frame informs the audience that his father has died. Therefore, he is taking the body to his native village along with his mother. From here, she should be highly aware of all the traditions that she will have to follow as part of the mourning period that lasts for 10 days. (She needs to change her black shirt, her mother reminds her.) This is the beginning of a kind of unwanted attention from her father’s extended family and village relatives. Anand is in his 30s, so why hasn’t he married yet? He has strong opposition to it. His mother does not bother him on this matter, that is enough.
Here, he meets his neighbor friend Balya (Suraj Suman), a local farmer who spends his days grazing goats in the nearby hilly areas. A key scene tells us that he also lives the private life of a closeted gay man, when a distant relative comes to visit him late in the evening. Balya Anand is fascinated by life and its implications beyond the confines of the village. Kanawade does well by establishing his decades-old friendship in small talk and anecdotes. Gradually, tender feelings emerge between them – and for the first time when Balya touches Anand, the world begins to take a breath amidst the serene peace of the trees. It’s a scene of incredible, heart-stopping beauty – beautifully captured through the lens of cinematographer Vikas Urs.
what works
While Saabar Bonda seems simplistic in its contemplation on the dynamics between two individuals, Kanawade’s look turns the wheel further in confronting the pressures of being a non-conformist in a heterogeneous socio-cultural space. Balya clarified that he would not marry, a decision his parents found illogical. Then there are certain rituals that Anand has to follow during the mourning period. The journeys of these two men are internal, and Sabar Bonda gives a very human portrayal of their everyday struggles, the veil of honor they have to defend every day.
Both of these men have separate private lives that are separate from their public lives; And even though they are the heroes of Kanawade’s film, Anand and Balaya are far from the prototypes of leading men who populate mainstream cinema in India. These people are soft-spoken, sensitive and wounded; What they think and what they are able to say may not always overlap. This is an extraordinary step in terms of representation of queer Indian life.
Sabar Bonda slows down a bit during the second half, and loses some of its momentum when considering customs. Still, the film retains its power thanks to assured turns from its lead actors. Sooraj Suman is extremely effective as the caring Balya, presenting a wholesome liveliness of quiet bravery through his lines. Bhushan Manoj’s Anand is a beautiful creation, the way the actors surrender to the film’s changing emotional tone is so delicate and open-hearted. He’s hurting, and also in love—a strange conflict of emotions he doesn’t know how to express. Manoj captures that thoughtfulness with amazing sensitivity and intelligence.
Suede bonda often reminds me of the brutal romance in the 2017 film God’s Own Country starring Josh O’Connor. In both films, love blossoms amid harsh, restrained surroundings. Kanawade’s filmmaking here is precise and personal, making Sabar Bonda a brutally honest document on Indian gay life. This is a huge leap forward in terms of queer representation in Indian cinema. Discerning what one wants to believe and love – isn’t that what it’s all about? One should be allowed to choose both without any fear.
Shantanu Das is covering the Sundance Film Festival 2025 as part of Accredited Press.
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