2023 INDIAN FILM FESTIVAL OF LOS ANGELES REVIEW!
Tara (Adita Vasudev), who has spent some time in the United States, has returned home to India to attend her father’s funeral. Once she’s returned, she finds that the things that India once was to her are no longer. Her mother denies her sexuality, those who she once loved have moved on, and the absence that her father has left is weighing heavily on the family. Places I’ve Called My Own explores the trials and tribulations of Tara’s life as she tries to find her way in this wavering world.
It’s interesting that in the moments of intense passion, the screen becomes dark, making it challenging for viewers to make out what exactly is happening. This almost mirrors the mother’s point of view, as if this act is forbidden and should be kept hidden. With that, there is a level of intensity developed here, as viewers are forced to deal with the reality that Tara isn’t permitted to express herself around her mother. Viewers are provided access to a deeper meaning in these moments, and as a result of them being so drastically different than the rest of the film, they ultimately become the most important of the entire production. Places I’ve Called My Own obviously deals with the ideas and ideals surrounding sexuality, and while they aren’t all that make up Tara, it’s clear how important they are.
Places I’ve Called My Own opens to a close up shot of Tara administering a shot in her stomach. That’s a bit of a unique way to start a film, and viewers are instantly given a piece of information that may not make a ton of sense. This works in a few ways for the film. Viewers are forced to start asking questions in the opening seconds, playing along with the narrative and trying to learn as much about Tara as possible. In addition to this, we open to a bit of intimacy, invited into Tara’s world. Places I’ve Called My Own is all about developing Tara, all about ensuring that viewers can connect with and appreciate her. The opening seconds of the film makes sure that this happens–and the rest of the film follows suit.
I think at this point we’ve all seen a film that deals with the same ideas as Places I’ve Called My Own–and this film tries to employ a lot of the same techniques as some of those other films. Those aforementioned qualities of this particular film help to separate it from the others, however, and Vasudev and the rest of the cast are able to embody emotion in a way that allows the film to feel intense from beginning to end. There are moments of levity that exist throughout the film, but even in those moments underlying tones of intensity exist, and viewers can feel it as a result of the acting. Vasudev is powerful, and she commands every scene throughout the course of Places I’ve Called My Own. Every facial expression, every body movement, every word uttered pulls viewers into the story and strengthens the narrative. She’s ultimately the key to success, and she delivers at every turn.
Places I’ve Called My Own attempts to exist in a slightly different space than the other films of the genre, the other films that tackle the same topics. It’s successful in its venture, and while things like intimate close ups and unique darkness help, it’s Vasudev that makes things possible. Her performance is powerful and beautiful, creating juxtaposition at every turn and widening the scope of the film as a result. Places I’ve Called My Own is brilliant, and its success rests on the shoulders of Vasudev.
Written & Directed by Sushma Khadepaun.
Starring Aditi Vasudev, AmardeepJha, Bhoommika Dube, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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