The Underbug, which premiered at this year’s Slamdance Festival, was written by Abbas Dalal, Hussain Dalal, Shujaat Saudagar. This poignant psychological horror, directed by Shujaat Saudagar, plays on the real-life horrors of conflict, its consequences, the multifaceted complications, and inevitably one’s own mental health.
The film focuses on communal sectarian violence erupting on the eve of India’s Independence Day August 14thas the Government enforces a nationwide curfew. One man (Hussain Dalal), bloodied and limping, takes refuge in an abandoned house. Fearing potential threats, Dalal searches the house intently finding blood-laced floors, a tattered doll, and overturn bedroom. Eliciting questions about the family’s fate, Dalal turns on the radio to the lyrics “land of riches, soil of my motherland”. Ironically yes, but for whom? Exploring, Dalal hears and senses movement. Something is not right.
A second man enters the house (Ali Fazal) and is confronted by Dalal. Fazal pleads to enter the house whilst people outside are being slaughtered. Fazal tacitly closes the door behind him, by way of introduction stepping into the light, and handling a knife. The first question asked is “Hindu or Muslim?”. In a sudden personality shift, he establishes himself as the alpha male. If alone through reticence, physical prowess, and stature, as a larger stronger man, he pins Dalal to the floor.
An ominous ambiance is woven throughout the film, enhanced by the harrowing sounds accompanying each movement, as figures elapse and reappear at different segments.
Tassaduq Hussain’s production design and cinematography combine low lighting and almost monochromatic imagery to create the dark omniscient feel of the film. The only light source is a single-lit candle. In combination with an array of camera angles, it provides an emotive feel and mood. The tension is enhanced by the radio audio commentary and the men’s response. Via their rapport, energy, and exchange of dialogue, the intensity and distrust are exacerbated as they incessantly test each other.
The radio broadcast discusses the politically charged riots outside. Independence is a factor underpinning the Hindu-Muslim divide, and political and social ramifications devolved from this. The host asks callers what freedom means to them. Inside the house, the conversation metaphorically parallels the ambient hostility, tethered through conversation, as the men converse over dinner prepared by the homeowners.
The radio broadcast acts as a catalyst for the questions and conversations that follow and focus on deeply fixed prejudices and social structures. The dialog opens a pool of thought on the history and ever-present enduring legacies of British colonialism and the evolving ripples of ruin. Comments on sexuality, and virginity, lead to discussions on love, marriage, and “duty”, with both characters querying the other’s relationships.
The film reaches a climax, at which both men must reflect on their lives. Issues that suffice are reminiscent of the ghosts of the past.
The pacing of the film allows important issues to be explored within an intimate setting expressed by Fazal and Dalal’s different personalities.
I highly recommend this film. For further information visit Instagram – @theunderbug_film
Movie Rating: 4 stars.
Movie Rating Guide
1 Star = Unwatchable
2 Stars = Cannot Recommend
3 Stars = Great for the Fans
4 Stars = A Solid Movie
5 Stars = Must Own (DVD/Stream Download)
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