Kia and Cosmos Film Review
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Kia And Cosmos review: Ritwika Pal, Swastika Mukherjee brilliant in beautifully crafted film
Kia and Cosmos is unpredictable because of its anti-linear plot progression, which manages to retain an intrigue throughout the film until the climax.
Sudipto Roy’s debut film Kia and Cosmos delivers a beautiful cinematic experience and its content is woven with a lot of care and sensitivity. There are several fascinating aspects of the film. Firstly, it authentically unveils the dejected, yet dreamy and adorable world of a teen suffering from autism spectrum disorder. Also, along with the journey of the characters, the film has an underlying and central journey of its own.
The story is told from the perspective of Kia (Ritwika Pal), the protagonist, who also attempts to write a story on her own, in the film. While she suffers from the disorder, she is overly sensitive, curious and a genius in mathematics. Her prowess is captured beautifully as she is seen doing calculations on the blackboard, alone in the classroom or sometimes uttering numbers on her own.
Her dreamy world is more linked with her father Kabir (Joy Sengupta), who encouraged her to play the ukulele and asked her to hold a red glass on her eyes when she comes across a yellow taxi, which she hates.
However, due to unfortunate turn of events, Kia has to live with her single mother Dia (Swastika Mukherjee). Kia is not too fond of her mother’s touch as she is averse to any kind of loud sound. She cringes to see her mother with Anup Uncle (Amaan Reza).
RITWIKA PAL IN KIA AND COSMOS
Kia is not shy to express herself. She makes it a point to finish when she starts talking about something or shares her opinion.
Kia is dauntless. When she finds out that her pregnant pet cat Cosmos has been murdered, she undertakes it as her own mission to probe into the murder of the cat, despite being repeatedly forbidden by her mother.
Her diary is her best friend. She outpours all her thoughts about people around her, jots down her curiosity and chronicles every stage of her investigation in it, while wishing to turn it into a detective novel. Only her teacher Shouvik (Zahid Hossain) is allowed to read her diary. He is a sensitive soul, who consistently lends a ear to Kia. Kia’s partner in adventure is rickshawala Rabi (Sraman Chatterjee), who Kia blindly trusts and even ropes in for her investigation.
As Kia goes on investigating Cosmos’s murder, she unconsciously embarks on a different journey that doesn’t quite please her mother. Their equation is beautifully explored through their conversations and conflicts. The confrontation reveals the vulnerabilities and helplessness of Dia. But Kia is too simple, and black and white in her heart to accept those grey shades in her mother. Dia often crosses the line while being over-protective of her daughter. She feels sorry the next moment and also craves silently to be understood by her only family member, her daughter.
Apparently, the story of a teenager investigating into her cat’s death, gives way to more revelations about the dynamics between Kia, her mother and her distanced father. Her innocent world is enriched with the participation of Rabi and Shouvik. The film gradually becomes more psychological, exploring the nuanced emotions and darkest sentiments of human beings.
Kia and Cosmos is unpredictable because of its anti-linear plot progression, which manages to retain an intrigue throughout the film until the climax. Editor Anirban Maity deserves credit for that. Towards the end, the film appears a bit dragged. Amidst the investment of thought and dedication on every aspect of the film, only the segment of the conflicting relationship between Kabir and Dia appears to lack depth.
Ritwika Pal is absolutely in sync with her character and so is Swastika Mukherjee. Both of them are so real in their portrayals that their characters almost turn into ideas or independent entities.
SWASTIKA MUKHERJEE IN KIA AND COSMOS
Apart from the brilliant cinematic composition, Roy deserves special acclaim for sketching Kia’s character. There is not a single attempt to make the audience cry or invoke sympathy for Kia’s character. However, it is the conversations and actions between Kia and her mother that hits hard and contains the elements to strongly feel for Kia, who, feels at bliss in Kalimpong, away from the chaos of Kolkata and for who, Kalimpong turns into the abode of stars that become symbolic of dead souls. Roy has also exhibited maturity in delineating Dia’s journey. No matter how conflicting she appears, it is hard not to empathise with her.
The director has beautifully merged a world of fantasy with the crude reality of life, without trying to make any statement. Roy has shown the picture as it is with a beautiful play of lights and colourist Ritajit Ray Chaudhury has magnified its artistic sensibilities.
Ritwika Pal’s act could have appeared over-dramatic in the intense moments of Kia’s heartbreaks and fear for loss, but she never crosses the fine line. Rather, her stoic blank expressions add to the emptiness she feels inside. Also, Pal carefully brings out the expressive shades of her character while knowing in her heart that she is a loner, by hardly making eye contact while conversing with other characters.
Swastika Mukherjee’s moments of breakdown also bring out her prowess as a strong actress. She carefully oscillates between being vulnerable and strong-headed and stubborn to the extent of turning evil at times.
Joy Sengupta leaves his mark in his brief performance. Zahid Hossain as Shouvik and Sraman Chatterjee as Rabi bring out the relief and compassion within their characters, despite staying within restraints.
Neel Adhikari’s background score has an important role to play in the film as it retains a lyrical flavour throughout and saves it from turning grim even for a single moment.
Kia and Cosmos is worth the watch for the effortless dedication put in by the entire cast and crew of the film. The film makes one delve deeply into the dark corners of human psychology, as well as the bright hope and positivity of life. The film shows that life can be enjoyed even after the gravest circumstances, if we change the colour of the lens i.e. alter our perspective.