By Abha Anindita
SHILLONG, Nov 9: Dominic Sangma’s award-winning film, Rapture, has finally returned home, screening at Shillong’s State Central Library until November 11, and it’s clear the film has struck a deep chord.
Set in a remote Garo Hills village, the story explores how ordinary people are impacted by fear, superstition, and the threat of an apocalypse. Sangma’s approach is both sensitive and unflinching, providing insight into the villagers’ lives and beliefs without condemning them, inviting instead a moment for reflection.
After traveling the world, the film was screened in Tura in August, and now Sangma describes its current showing in Shillong as ‘coming home.’
From the outset, Rapture carries a contemplative tone, opening with the thought-provoking line, “Either it is night or we don’t need the light.” This line sets the stage for the film, reflecting both literal and metaphorical darkness; recurring theme Sangma uses to explore complex human emotions and unseen fears.
In a conversation with The Shillong Times, Sangma shared how every frame and line in the film is crafted to connect with the audience on a personal level.
The story follows a small village grappling with rumors of impending disaster. While villagers contend with everyday challenges, apocalyptic warnings from the pastor spark collective panic. This fear escalates into violence, including the killing of a stranger perceived as an “illegal migrant” simply because he is seen as a threat.
Sangma’s portrayal of this incident touches on a tragic truth about how isolated communities can sometimes succumb to mob mentality, driven by superstition and fear of the unknown.
One of the film’s strengths is its subtlety, allowing the audience to interpret its meaning rather than spelling it out. As Sangma said, a viewer’s interpretation of the movie reflects their own outlook and beliefs.
At the centre of the turmoil is Kasan, a young boy with a cleft lip, portrayed by Torikhu A. Sangma. Kasan embodies innocence and curiosity, traits often challenged when children grow up surrounded by fear and prejudice. Despite his differences, Kasan is compassionate, particularly toward an elderly coffin maker he often visits.
A pivotal moment in the film shows Kasan witnessing a crime. This experience creates inner conflict as he feels pressured to keep silent despite being taught the importance of honesty. Another powerful scene is a conversation between Kasan and his father, a delicate exploration of morality and honesty, which Sangma describes as one of his favorite moments in the film
Sangma’s screenplay, paired with cinematographer Tojo Xavier’s haunting visuals, creates scenes that make the audience painfully aware that something is amiss in the serene forest setting.
What’s remarkable about Rapture is its resonance across cultures. Sangma shared that while the film is deeply rooted in the lives of the Garo Hills, the emotions it captures, fear, curiosity, moral conflict are universal. This shared humanity has made the film relatable to audiences worldwide.
When asked about the future of filmmaking in Meghalaya, Sangma emphasised the importance of collaboration between filmmakers and the government. He believes that authentic storytelling, especially from the region’s unique cultural context, can have a powerful impact. Sangma also expressed hope that the government will recognise the potential of a strong film industry to contribute to both cultural preservation and economic growth.
Sangma’s work challenges viewers to think beyond the screen, offering a cinematic experience that lingers long after the credits roll.
Watching Rapture is about experiencing the subtle artistry of a director who has found his voice in the profound simplicity of human life.