The film arrives at the idea of continuity in two ways - the first, a quasi-positive conclusion and the second, a more visceral but unsettling dark one. 

As the protagonist has dealt with meting out of vengeance, he now heaves a sigh of apparent sanity. Beams of sunlight filter through the porous fabric-screen in which he holds out the candy - the tingling reflections re-creates the innocence gathered back, once lost. His sibling reaches out for the bright realm which his elder brother has brought her back. They overcame a crisis, and though abrasions are real and yet to disappear, a hope for a new day, probably less ghastly as the last, is a hope worth keeping the life continuous. It is a merry denouement, but, maybe, for the time being.

However the strands do not have free, loose ends - the strings pass on to others. The abuse suffered by a sodomized child, when turned an adult (whose profession commands authority in all ranks of the society) was passed on to another hapless, disadvantaged minor on the street. The death of the perpetrator of abuse did not sever the flow of violence but merely invoked a varied apparition of same. It passed on hands to an uninformed bystander, who absorbs it and shrieks out. A fearful object has started to gain agency in his mind and the continuity comes alive. Has the bystander completely inherited the doom he has witnessed, or are fragments of the act of killing reside back in the mind of the protagonist, which might invoke some demons later on in his life? Will he, by the vice of his ill-doing, become a fiend, later on?

Violence continuous.    


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Maanjha | Rahi Anil Barve