#Dange
#HarshvardhanRane,
#EhanBhat
#ArjunDas,
#KalidasJayaram,
#NikitaDutta,
#SanchanaNatarajan,
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about this movie :
After watching Bejoy Nambiar’s film *Dange* and walking out of the darkened theater, it feels as though one is staggering out of a nightclub at 3 am. The disorientation, the struggle to adjust to regular lights and sounds, is palpable—as if coming down from some sort of substance. You’re left trying to process what the last few hours entailed. All that remains in your mind are the cornea-busting strobe lights and fragments of intense emotions with little context.
Writing about a Bejoy Nambiar film is akin to finding new ways of expressing “style over substance” and “hot mess.” But why bother reinventing the wheel? Bejoy Nambiar certainly hasn’t. In fact, he seems to be leaning into his frenetic, scattered, fever-dream, all-vibes style more and more with each project. Trippy visuals and moody, montage-y momentum work great for a music video, but in the absence of functional, thoughtful writing, they can only take you so far in a feature film.
Bejoy’s new film *Dange* (which runs for an unforgiving 2.5 hours) isn’t entirely terrible. In certain stretches, it’s overactive and buzzy enough to be watchable. Until people start talking, that is, and there’s a need for character, context, and a cohesive narrative. For example, there’s a stylistically-shot sequence early in the film where one of the lead characters is beating up a bunch of bad guys on a basketball court. It’s nighttime. It’s raining. The background score is blaring. It’s all moody-action-vibes, and it’s done well. Immediately after this scene, however, the same character declares his love for a girl in a cringe-worthy, awkwardly staged moment, and all that built-up basketball-beatdown steam instantly dissipates. Partly because *Dange* is a cautionary tale in how not to do dialogue, build arcs, and/or sell emotion.
