Run Kalyani

“Madhu Neelakandan’s cinematography evocatively translates Geetha’s vision of relaying information through the language of the cinematic narrative, rather than through dialogue… “The film looks at the city and its denizens through Kalyani’s sensitive eyes.

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“A good portion of the film is slowly paced: it might have been titled Walk Kalyani. But this pace is intentional. We need to feel the monotony that surrounds the protagonist. You know that T-shirt slogan, “Same shit, different day”? That’s Kalyani’s life.”

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“How does the ordinary become extraordinary? It’s all to do with the point-of-view, and in Run Kalyani, we see that gaze rest upon its protagonist, as she moves from one day to another. In the way she opens her eyes, stretches and becomes aware of her surroundings, you know it’s a new day. Does being alone also mean being lonely?”

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“The music is distinguished by its change with the change in Kalyani’s movement from her work place and back. As she walks down the complex, some percussion instruments can be heard in a definite rhythm, and it changes to the nadaswaram as she approaches the musician under the big banyan tree where the music comes from this strange nadaswaram player.”

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