The family space is the main scene of the story. We can clearly see that their home is located on the third floor, which is the deepest part of the alley. The residence is located in the center of all the buildings. Spatial oppression.
The first is the aunt. They are the portrayal of the previous generation. She is widowed and old and can only be supported by her younger brother. She exists as a victim of patriarchy, completely losing her independent sense of self. They are a portrayal of the previous generation of Indian women, whose economic dependence on men has led to their self-consciousness being attached to men. They understand their status and the fact that they have no personal dignity in the family, but they are powerless to change them. Down.
Second, the presence of mothers reflects the current situation of this generation of Indian women. They exist in a small space in the family space, and the roles of mothers and wives limit her to only exist in the kitchen. She even appeared in the living room symbolizing the family center several times. Opportunities are either the absence of the father, the return of the father, or the emergence of the father's domestic violence. The function of the living room as a place for family members to communicate and communicate is completely lost, and the living room is under the strong oppression of male power. Trapped and oppressed in physical space, her mother can only connect with the world through television and computer screens. The two silver screens are also the windows for the spiritual exchange and self-awareness of the mother and daughter.
The third one, her daughter received education from a young age and predicted the status of the next generation of Indian women. The disparity in the status of men and women in the campus and at home stimulated their self-awareness. They pursued free love, and they were unwilling to their father's spiritual and physical love. Violence, they know how to express their emotions and dare to speak out (compared to the previous generation who were silent and angerless, this generation dares not speak out), which also reflects the changes in the character of the three generations in the drastic changes of the times. The strong character of the daughter changes her own destiny and also prompts the awakening of the mother's self-awareness.
But the female independence reflected in this film is also quite simple and can be said to be superficial. The only pressure comes from the father. The father, as a symbol of male oppression, exists as an endorsement of the oppression of the entire society. The screenwriter delusions that as long as the mother and daughter run away like Nora, they can obtain their due social status and personality. quite superficial. The mother and daughter did not choose to follow their father to Saudi Arabia (the center of male power), leave their original family (the legacy of male power), and go to Mumbai (the land of equality between men and women). The account of Wanfan, with the help of music producer Shakti, was not awakened by its own economic independence (the mother was reluctant to leave the father, in her own words, without the father, there is no source of income for us. How to survive, it can be seen that injustice and discrimination against women are widespread), and the mother's sense of resistance is more of a hidden value brought by her daughter's singing. What happens after Nora leaves? The camera has shown many times that after the runaway Nora, they either use their bodies to obtain resources (body display with a male perspective on Shakti’s studio girls), or they become male-dominated materialistic objects (Shakti hooks up with female lawyers) The front desk girl), after running away, Nora faces the subconscious oppression of the wider patriarchal society. This video does not give an answer, nor does it reflect. Perhaps the more important thing at the moment is to run away. There are more women running away and participating in social dialogue can have the opportunity to reconstruct the right to speak.
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