Índia, Amor e Outras Delícias

I hate the way this film has been criticized in the press. By insisting, as the BBC does in their review of her film, that any treatment of Asian queerness needs to be portrayed as brutish and gritty, and that any story of an Asian family coping with a queer member must be shown through the lens of a "multicultural family and their troubled psyches", the press is putting the same straight-jacket on Asian filmmakers, as they do on black filmmakers, when they insist that the only stories that can come of out the black community are stories of gun violence and rat-infested squats.

The critics demand that queer Asians aren't allowed to do "Kissing Jessica Stein", that domain is reserved for whites only. Reading the reviews, you get the clear picture that the crime they want to charge Pratibha with, is not "making a bad film" but for "not telling an Asian queer story in the appropriate manner", as set out by films like East is East and My Beautiful Laundrette. That bloody sucks. More power to her for daring to challenge the stereotypes.

If you ask me, the crux of the matter in _Nina's Heavenly Delights_ is revealed when Ms. Lady G's comments that the small battery-operated plastic Taj Mahal was a giant testament of grief. Parmar's film revolves around mourning and the comforts of beauty, love, aesthetics, family. And at the core of the film: is grief. Grief for her her father, yes, and also for the all that needs to be rewound: communication, home, deep friendship, solidarity, respect. If you've watched her documentaries over the years, you've found activist poetic diasporic politics running through, for her work is dutiful. But the films are always full of the other side of activism -- yearning -- and the other side of community -- grief. This film articulates those complicated emotions beautifully.

I find in this move to the feature film (which I applaud Kali films for with both hands clapping) a perfect topic: the loss of the father, the fall of queer idealism (we can't be gone for ever), and a return to the intricate and difficult subject of integrity and community integration. Less I sound too sophomoric to you, think again: Parmar and her crew are smart filmmakers: they've seen "Bend it Like Beckham" and "Fire" and many other important lesbian-type films ... and then delved into what drives us to love. No, Mia Hamm isn't in the limelight these days anyway, but more importantly didn't attempt the epic architectural overhaul of resovling the question of privacy and respect. Or, more poignantly, she and her writers did attempt the overhaul, but they did so in such subtle and lovely ways -- wouldn't you love for your future lover to discover something written behind the wallpaper? -- that the past becomes a sweet companion to the grief of the present. How is it possible to live without our memories? It is not. Patience is a virtue in this film, and I would love to hear your comments about mom and brother in light of such a topic as patience. I refuse to believe that honor is dead.

Shed Lacan -- _Nina's Heavenly Delights_ is not a typical, vacuous tale of lesbian and/ or progressive family who show their feathers when the big guy goes out. There seems, actually, to be a more important story going on about what shifts, and how we shift, through death, love and respect. To consider this a flat tale about "the law of the father" would be to belittle death and the dense process of mourning.

Quick last note: Three cheers for the best friend. Pratibha has finally given a body and character to her love of dance. Finally we can celebrate this with her.

This film does not tick the 'right' buttons for white expectations of an Asian British film or a queer film and so people may be wrong footed. So there is no culture clash with parents who are living an 'Asian' read outdated culture with westernised children, no arranged marriage, no white person learning and being surprised by 'Asian' culture. No belly laughs ensuing from said conflicts. Instead we have a film about being true to yourself and learning to follow your passions for whatever - cooking, dance, love. I wait for the day that Black filmmakers can make work without having to conform to the prescribed script written for them to fulfil and they can just follow their passions.

I saw this movie at The Hong Kong Lesbian & Gay Film Festival, though this funny, witty and entertaining movie about love and passions set against a cross-cultural, Glaswegian background could be featured at any film festival. I laughed at the witty, self-humorous dialogue, jiggled in my seat alongside the Bollywood songs, and drooled at the sight of all that delicious food. This is a rare gem which entertains the majority and identifies with the minority. You'll end up rushing to your nearest Curry House and checking out the chef! Here's one funny girl loves girl story which doesn't end in tears for a change. It can and does happen! Thank you Pratibha! Hope we don't have to wait another 7 years for the next one.

Great to see this kind of film out on general release in British cinemas and now on DVD. It's about time! One thing I would say is that if I were a sixteen year old girl or so, this would be my favourite film for a good while because of the 'girl-on-girl action'. But don't get me wrong this is definitely about women and not girls!

Well done Pratibha Parmar for bringing this fun-loving film, full of diversity of many kinds, out for all to see. I look forward to seeing more.

This film marks a time where more and more expressions of true love, identity and passion should be allowed onto the big screen for the mainstream to see. There are plenty of interesting works out there, which are simply not being allowed into the cinema for people to see because there is deemed to be 'no audience'. So pay attention to what you chose to see! It's people that determine what's out there and what isn't.