Land of Cards

The film has been described as a "trippy adaptation" of the Rabindrath Tagore's play. Music and poetry is main soul of the film ,thats reason film move on without boring. You'd either love 'Tasher Desh' or hate it, but you can definitely not ignore it.

The narration has three layers bursting with lessons of life, regarding rules, hopes, desires and fate.It's a story about society and culture, of brotherhood and winds of destiny, of acceptance and revolution. It's a journey of twosomes and foursomes, of abstract and reality.

For those who do not understand Bengali, one needs patience for the film to grow on you to decipher what's happening on screen. And by the time the final song rolls out with patriotic gusto with lyrics that screech: "Break every barrier, let your mind break free/ Do you have the courage? It's a long way to freedom, be free, be pure", and you will probably understand and appreciate 'Tasher Desh'. Or else, as one of the characters say at the very beginning of the film, "You will never understand. Nothing is real. In reality, everything is a fantasy, fiction." Accept the film the way it is. Director Q's treatment of the film is very non-figurative, dramatic and musical like in a music video. It is a grand tour of illusion.

Visually stunning, making use of all phographic techniques, psychedelic, disjointed, lost in its exuberance of colour composition and collage, the film loses it's centre and slips into a numbing fantasy.

Tasher Desh is a psychotomimetic vision of Qaushiq Mukherjee's unapologetic experiment that goes beyond the professed acid trip. A madcap versifier, with almost fanatical obsession for the outré, becomes a master conjurer conjuring up compelling and bizarre images in a non-linear, dual narrative that slowly seduces the audience into a hypnotic psychedelic ride. The inertia of the chimeric first half explodes into a volatile kinetic force as we are introduced to the restless motley of Card soldiers in the fascist dystopo-neverland. The very Q-esque split-screen shots, hyperstylised edginess of hand-held camera movements trigger the hallucinatory surreal eeriness of a grungy meta-reality. But everything goes downhill from then on. Mr. Infant Terrible suddenly turns into a glorified music video director haplessly resorting to deliberate abstractness as an escape route for his fizzling out self-indulgences. The sensory and visual striptease becomes clumsier in the amorous exchanges which reduces the prophesied sexual liberation into a libidinous exercise with an unsuspecting abrupt climax. Zany, techno-funk pagan Rabindrasangeet and Manu Dacosse's flamboyantly sumptuous cinematography are the two biggest gains from this discordant and floundering amorphous fantasy drama. And, a special mention for the subtitling which is impeccably apt and incredibly germane.

Directed by Qaushiq Mukherjee (of the 2010 cult film Gandu the loser fame) this film, stands true to its word, being a quirky take on the play of the same name written by Rabindranath Tagore. The film's narrative has great shades of surrealism, fantasy and neo noir which as an impressive graph of development where two stories go hand in hand and they intersect at the pre climax , plus after few scenes with hardly any dialogues, the film takes a sweet boost and the rest is assured, drawing inspirations from Satyajit Ray's film "Goopy Gyen Bagha Byen" and the director's own previous work. The best part of the film lies in the cinematography by Manu Dacosee and the director himself, where every frame is a pure work of art and noir, the music score by Neel and Miti Adhikari and Q which takes on the Rabindra Sangeet with a tinge of some loud Western music making every song worth listening, then even editing by Nikon is great that well compliments the narrative, the performances by Tilotama Shome, Joyraj, Anubrata, Imaad Shah and Rii Sen. The film is a must watch for cinema lovers. My rating would be: 4/5. 

It took me a week and a half to recover from the experience of watching Tasher Desh, a futuristic adaptation of a classic play by Bengali poet and writer Rabindranath Tagore. To say it's a well-known story is an understatement; pretty much every Bengali knows of it; but I'm guessing no one has the kind of imagination that could possibly have interpreted it in the way that Q has.

The entire film is a visual feast for all your senses; most of which are not pleasurable. Unexpected, unsettling and disturbing; the vivid imagery, bold graphics and loud dialogue made me squirm in my seat.

The story flits between three worlds and narratives, the urban metropolis of Calcutta, a derelict and deserted castle inhabited by a young prince bored of living a secluded and sheltered life and Tasher Desh itself, The Land of Cards ruled by a hostile military regime.

As their worlds collide, the viewer is taken on a journey that at times feels like a nightmare and at others looks like heaven. Secluded beaches juxtaposed against the harshness of city living with runaway toy train sets and ancient tribal warriors; the imagery feeds your imagination and curiosity until it can no longer consume any more.

There are infinite ways to interpret Q's Tasher Desh; there is an underlying political voice making it the perfect film to be analysed for an academic dissertation but if you detach yourself from intellectual thought and allow yourself to be drawn into Q's sinister and eccentric vision, you'll be rewarded with the prize of witnessing a film that's fresh and fantastical and guaranteed to influence your dreams for at least the night that you view it…or if you're like me, for a lot longer.