A woman unlearning the shape she was given

Tribeny Rai's debut film, 'Shape of Momo,' delves into the complexities of female identity and societal expectations through the story of Bishnu, a woman returning to her village in Sikkim. The film uses the familiar culinary item, momo, as a metaphor for the rigid shapes and roles society imposes on women.

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Women in our society are expected to be the same, with a distinct understanding and specific expectations.

Bishnu's experiences in Delhi have shaped her into someone who resists easy categorization. Upon returning to her village, she is perceived as argumentative and independent, challenging the conventional expectations of women. Her struggles highlight a collision between inherited patriarchal ambitions and her own resilience. The narrative quickly establishes that Bishnu's return is not a simple coming-of-age story, as seen when a triumph for her village, a published phone advertisement pitch, immediately leads to discussions about her marriage.

The film portrays a family grappling with the absence of male members, leading to a pervasive skepticism and vigilance among the women. In one scene, Bishnu's mother scatters her late husband's clothes, a symbolic act to assert the presence of a male protector. Bishnu, however, finds herself unable to conform to the patience and compromise of her mother and grandmother, leaving her in a state of internal conflict.

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Negotiations frustrate her, and the inherited patriarchal ambitions collide with her sturdiness.

'Shape of Momo' complicates the audience's initial sympathy for Bishnu. Her interactions, particularly a moment where a vendor's son throws gifted fruits to the ground, confront viewers with resentment and misunderstanding. The film's strength lies in its nuanced performances and the emotional authenticity of its cast, rendering each character with depth. While Sikkim shapes Bishnu's life and the film's setting, the focus remains intensely on the characters' introspection, a conscious choice by Rai to explore internal landscapes rather than external landmarks.

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The absence of male members in Bisnu’s family has made the women thoroughly sceptical and vigilant.