Songs of Forgotten Trees review – sensitive, ambiguous drama of female intimacy in Mumbai

In India’s bustling metropolis, where ancient traditions coexist with gleaming skyscrapers, countless stories of women exist between societal expectations and personal desires. Anuparna Roy’s debut film explores one such space: a cramped Mumbai apartment shared by Thooya (Naaz Shaikh), an actor and sex worker, Nitin (Bushan Shimpi), and Shweta (Sumi Baghel), a remote IT worker.

The narrative appears to be about roommates struggling to maintain normalcy in a stifling environment. However, as the story unfolds, it becomes clear that Roy is probing deeper – examining the constraints placed on women’s lives and how they cope with these limitations. The film’s portrayal of Thooya’s clients serves as a powerful reminder that even in contemporary India, patriarchal attitudes persist.

Male entitlement is a pervasive theme in Songs of Forgotten Trees. Shweta’s IT customers are depicted as entitled, demanding, and often misogynistic – their behavior mirroring the societal norms that govern women’s lives. The film also explores themes such as sex work, arranged marriages, and the commodification of female bodies through subtle means.

Rather than being explicit or didactic, Roy allows the audience to piece together the complexities of her characters’ experiences. This approach can be seen as both a strength and a weakness – while it encourages viewers to engage more deeply with the narrative, it also risks leaving some elements unresolved or unclear.

The character dynamics between Thooya and Shweta are multifaceted, veering between camaraderie, tension, and what appears to be a developing romance. However, this aspect of their relationship is left deliberately open-ended, inviting viewers to ponder the possibilities. Thooya’s haunting memory of a school friend married off at age 13 adds another layer of complexity to this narrative.

In the context of India’s current social landscape, Songs of Forgotten Trees raises important questions about the treatment of women and the ongoing struggle for equality. As we reflect on the lives depicted in this film, it becomes clear that their stories are not isolated incidents but rather symptoms of a larger issue – one that requires sustained attention and action.

The film may not leave an indelible mark on audiences, but its exploration of the unseen lives in Mumbai’s forgotten spaces serves as a poignant reminder of the work still to be done. Anuparna Roy’s debut is a thoughtful contribution to India’s cinematic landscape, encouraging viewers to engage more deeply with the world around them and confront the often-overlooked struggles faced by women in their communities.

It is crucial that films like Songs of Forgotten Trees capture our attention – not just for their thought-provoking narratives but also for their capacity to inspire empathy and understanding. Only through a sustained engagement with these issues can we hope to create meaningful change in the lives of those who inhabit India’s forgotten spaces.

Ultimately, Roy’s film serves as a testament to the power of storytelling – one that reflects the harsh realities faced by women while offering a glimmer of hope for a more equitable future. As we emerge from this cinematic experience, it is essential to remain vigilant, acknowledging the ongoing struggle for equality and justice in India’s ever-changing landscape.