sampan sengupta

The photo of the painter on the phone becomes the central subject of the second part of the film. It revolves from hand to hand, provoking certain speculations of his identity, nothing specific but a random guess. They all refer the man to someone identical to his social position which is quite stark and a part of a depressing reality. But alike the landfill of the suburbs in Bombay, the identity of a dead man is buried with lost hope and immobility. The photo on the phone which became the final remains of an unknown dead man attaches the importance of social identity over and above the reality of ones life and death. This piece is deeply moving.