Mohomaya, the five-part collection on Hoichoi, opens with a scene so agonisingly gratuitous that it places the shady status of the streaming platform–peddling mushy porn as creatively inert collection–to disgrace. No phrases can suffice in approximating the horror however let me strive. A half-naked man indulges in what’s probably the worst shot BDSM within the historical past of intercourse scenes as a lady, her again turned to him, wears an animal masks. The digitally amplified lashing noise is punctuated by her moaning. I’m assuming at this level somebody from the crew thought there nonetheless remained some ambiguity.
To make his animalistic tendencies fully clear, the person says issues like: “I’m an animal”, and heaps of hay fall within the room on cue. The scene refuses to finish, in fact. His spouse stays tied up on the nook of the room. Seems that is a part of her grooming, and to make issues abundantly clear (once more) he says issues like: “it’s important to groan like an animal.”
Mohomaya, directed by Kamaleshwar Mukherjee, tries to be loads of issues — portrait of a lonely home spouse, a commentary on feminine violence and a resuscitation of Freud’s Oedipus principle. However the one factor it achieves with unflinching readability is to be a artistic outrage of aesthetic sensibilities. Throughout the 35-minute runtime of 5 episodes, two tales unfold concurrently. One consists of a daily household residing in a palatial type of house however for some purpose have solely a Scooty as their solely mode of transport.
The opposite features a boy, son of the aforementioned animal-like couple, who retains dreaming about his mom and expresses his love by repeatedly tying her up. In some unspecified time in the future they intersect and the collection devolves right into a full-blown show of deranged concepts of affection and obsession: a cat is killed, a woman falls from a flight of stairs like a rag doll, and saris are sniffed like it’s a part of some foreplay. If the premise appears incredulous, they pale earlier than the garish visuals.
However the true testomony of Mohomaya’s ludicrousness stays the way it resists any type of mental engagement; designed like some feverish inventive dream it unfolds like a limp nightmare. The collection, starring Swastika Mukherjee, was touted because the comeback car of Nationwide-award successful actor Ananya Chatterjee. The one factor she does, nonetheless, is pile on her son as a ghost asking to be tied and untied like they’re taking part in some nursery sport. In some of the unsettling scenes, she tries stopping her husband by unhooking her shirt. Her faculty going son watches them from a distance. Earlier than I might grasp, my wifi stopped working. I’m assuming out of disgust.
(Mohomaya is streaming on Hoichoi)