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"Gichpich" - A Filmgoer's Review

Nonika Singh, a renowned and senior film critic for the Chandigarh Tribune, whose reviews are eagerly read by her audience, introduced Ankur Singla, the director of the film "Gichpich," screened at the Chandigarh Film Festival, as *"Chandigarh da Munda"* (a lad from Chandigarh) in an article published in the Tribune. She also wrote about his background. It was surprising to learn that a bright law graduate from the nationally acclaimed National School of Law Bengaluru, who had no direct connection to the film industry, had produced and directed this film. Therefore, my curiosity to watch the film increased, especially since no producer-director, apart from those making Punjabi films, has emerged from Chandigarh. This curiosity drew me to Jagat Cinema, where the film was screened. While going to watch the film, I had the preconceived notion that it would be an art film or an experimental film, as film festivals often screen such films. However, after watching the entire film, I realized that it was a new kind of film, transcending art films and experimental films, incorporating the nuances of art films, the realism of experimental films, and the appeal of commercial films, perhaps requiring a new classification. I was so engrossed while watching the film that I lost track of when it started and ended. From any angle or perspective, it didn't seem like the director's first film, especially considering that no one in his family has any connection to the film industry.

Talking about the film, it is set against the backdrop of Chandigarh in 2001. The director claims that it is based on true events. In essence, according to the director, it is a story of a father and son. In my opinion, it is a story of the internal conflicts within middle-class families. It portrays the conflict between two generations, between two ideologies, between the setting sun and the rising moon, a conflict that is perhaps universal and eternal. This story is equally relevant today, in 2025. The director took a significant risk by adding sensitive topics such as homosexuality and a Sikh character's decision to cut his hair to the screenplay, especially within the context of Punjab. The director deserves commendation for this, and remarkably, he has portrayed his message beautifully.

Regarding the individual characters, the scenes of the father's pressure and stress on his son for studies remind us of the suicides that occur in Kota. The mental anguish of a young son grappling with a taboo subject like homosexuality is beautifully depicted, especially when the character's mother takes her son into her arms and narrates her ordeal upon discovering her husband's homosexuality, and how she reconciled with reality and compromised to save the family.

If we turn our attention to the third story, the Sikh character's insistence on cutting his hair for his girlfriend, despite his father's rejection for social and religious reasons, and his subsequent realization of the importance of the turban at a wedding and how it positively influenced his state of mind, is all filmed very beautifully.

Speaking of performances, Satyajit Sharma, an experienced artist from the film and television industry, delivers a remarkable performance as CA Naresh Bansal. In one scene, the mere wrinkles on his forehead and the trembling of his lips convey so much without uttering a word, leaving a lasting impression. Actress Lilly Singh, who plays his wife Ashima, breathes life into the film with her facial expressions, body language, and gestures. Mia Magar, who plays Gurpreet Singh's mother, leaves an indelible mark with her understated performance, without any makeup and mostly in silence.

Geeta Aggarwal, who plays Ritu Arora, the mother of Gaurav Bansal, is a renowned theater artist and adds depth to the film with her realistic portrayal and unique style as a wife compromising with middle-class values, and her impactful dialogue delivery.

Nishan Seema's performance as Lekhpal Singh, Gurpreet's father, is adequate.

The late Nitesh Pandey's powerful performance and body language as Rakesh Arora, a homosexual father, will be remembered for a long time.

Among the three main young characters, Kabir Nanda, playing Gurpreet Singh, the Sikh boy, steals the show, especially considering this is his debut film. He delivers beautiful facial expressions. Aryan Rana, playing Gaurav Bansal, who is striving to fulfill his CA father's wishes, also gives a commendable performance. Despite this being his first film, he effectively portrays the pressure, stress, and anger on his face. Shivam Kakkar, who plays Gaurav Arora, the son of a homosexual father, deserves praise. He beautifully portrays mental and physical anguish on the silver screen. Having prior experience in the film and TV industry, such a performance was expected from him.

The twists and turns in the story were unexpected, but the director, with his astute judgment, brought tears to the audience's eyes on several occasions, which cannot be labeled as melodrama. The director's command over his subject and directorial prowess made many scenes emotionally resonant.

The director also deserves praise for selecting Sangeeta Gupta, a renowned drama director from Chandigarh, to play the role of a school teacher, ensuring the highest level of realism in every scene.

It is true that the film is set and shot in Chandigarh, but the director has used it sparingly, perhaps only when required, even though iconic locations like the Rose Garden, Rock Garden, Sukhna Lake, and Sector 17 Market could have been memorably depicted in the film.

The music is just as much as needed. Music director Ritwik Den has provided pleasing music. Although the film is set in 2001, when music was mostly based on Indian tunes and instruments, it works well. Since the film revolves around young people, one more song could have been included, but perhaps the director didn't feel the need.

The background music aligns with the film's narrative. It is not overly dramatic or noisy. The use of the sarangi in some scenes is particularly beautiful. It seems that the background music was AI-generated.

Although there was not much scope for songs, lyricist Shaili has written good songs.

Sukhan Sar Singh's cinematography is good, but the film's visual appeal could have been enhanced further with the use of high-definition lenses.

Upon close observation, it is evident that the director has filmed the movie in very short shots, that is, scenes of very short duration. There is hardly any shot longer than a minute, but this experiment has been skillfully edited by film editor Syed Mubashir Ali, creating a new cinematic experience. It reminds one of the song "Roop Tera Mastana" from the film "Aradhana," released 57 years ago, in which the renowned producer-director Shakti Samanta filmed the entire song in a single shot. That was also a unique experiment that was widely appreciated, and in "Gichpitch," the skillful editing of short scenes has created a new and effective cinematic experiment, which is commendable.

By creating a story without elements considered essential for the commercial success of today's films, such as abusive dialogues, fight scenes, unnecessarily prolonged love stories, or explicit content, the director has proven that a successful film can be made with a well-written screenplay and a director's command and vision.

One anomaly was noticeable in the film. The music played on the dholak with the band in the wedding scene is Western, which doesn't match the scene. However, this is a minor issue.

In my opinion, this film is entirely the director's, in which he has succeeded to a 90% extent. Just as Eklavya gained fame in archery by considering Dronacharya his guru, I believe that the director has paid homage to the late Nitesh Pandey, whom he considers his guru, which is extremely appropriate and relevant.

The film's final scene, in which Bansal's son leaves for Delhi by bus and the radio announces his arrival, somewhat evokes the films of the old renowned director Hrishikesh Mukherjee or the contemporary H. K. Irani.

Most importantly, by making a film on three true stories, the director has not only presented the reality of society but has also beautifully shown the solutions to problems with maturity and positivity.

The film's ending, where the three young characters, having learned from their life experiences, overcome their internal struggles, accept reality, and achieve success, is also commendable. Especially the display of a board at Gaurav Arora's eyewear shop offering a "20% discount to the LGBTQ+ community." In the old days, Kishore Kumar used to be the lyricist, music director, story writer, screenwriter, producer, and director of his films. Today, he is remembered as Ankur Singla, the producer, director, writer, and screenwriter of this film, is also repeating history.

It is true that filmmaking is a collective effort, with contributions from everyone. Yet, this film is primarily the director's. The director deserves praise. It doesn't seem like his first film, especially for a director who and whose family has no connection to the film industry.

If this film is shown at any national or international film festival, it would not be surprising. In such a scenario, it would be a true recognition of a young director's first endeavor. In the film's credits, the producer-director has dedicated this film to his parents, for which Ankur Singla deserves praise and congratulations.

I give this film a rating of 8.5/10.