Prismatic Ground presents Barobar Jagtana, a trilogy of moving image works from Suneil Sanzgiri, followed by a conversation between the director and Inney Prakash.

"In 1961, 14 years after India gained independence from Britain, the Indian Armed Forces defeated the last remaining Portuguese colonizers in the newly formed state of Goa. My father was 18 at the time, and had just moved away from his small village of Curchorem to Bombay for school when news reached him about his home—now free from the oppression of a foreign hand after 450 years of colonial rule. After spending years thinking about questions of identity, liberation, and the movement of people across space and time, I find myself returning to this period in search of moments of anti-colonial solidarity across continents. My research took me from the shores of Goa, to Indonesia, Mozambique, and Angola, finding brief links between nascent liberation movements and my father’s biography.

Combining 16mm footage with drone videography, montages from the "Parallel cinema" movement in India, desktop screengrabs, and Skype interviews with my father, the resulting film utilizes various methods and modes of seeing at a distance to question the construction of artifice, memory, and identity through the moving image."

-Suneil Sanzgiri

Shot with 16mm film stock that expired in 2002—the same year as the state-sponsored anti-Muslim genocide in Gujarat—and filmed amid the anti-CAA protests in Delhi, the filmmaker traces lines and lineages of ancestral memory, poetry, history, songs, and ruins from his birth in 1989.

A search for solidarity in the sounds and colors of the spontaneous Muslim women led Shaheen Bagh movement in Delhi, in the poetry of Agha Shahid Ali, the song of Iqbal Bano, the theater of Safdar Hashmi, and images of B. R. Ambedkar—the radical anti-caste Dalit intellectual and founder of the Indian constitution—all surrounding a letter addressed to the filmmaker’s distant relative Prabhakar Sanzgiri, who wrote biographies of Ambedkar and was a Communist Party of India (Marxist) leader in Maharashtra.

Letter From Your Far-off Country is the second film a series of new works addressing ancestral memory, diaspora, history, decoloniality, and cross-continental solidarity. These themes, which run recurrent, think through a series of questions, reflections, and intimations of how we live through moments of trauma, violence, and revolt.

Starting with At Home But Not At Home (2019), which made its world premiere at the International Film Festival Rotterdam in January 2020 with a nomination for the Found Footage Award, Letter From Your Far-off Country continues interviews with the filmmaker's father, while blurring boundaries of the epistolary format through a letter written by the filmmaker directed towards a distant relative, who was a revolutionary freedom fighter, prisoner's rights activist, and Communist party leader.

Using the language of new media, video art, desktop cinema, and experimental film, these shorts look towards the slippery, unstable, and liberatory possibilities of the moving image, seeking to reclaim the past from erasure, and provide a journey towards a potential future.

What is liberation when so much has already been taken? Who has come for more? "Golden Jubilee", the third film in a series of works about memory, diaspora and decoloniality, takes as its starting point scenes of the filmmaker’s father navigating a virtual rendering of their ancestral home in Goa, India, created using the same technologies of surveillance that mining companies use to map locations for iron ore in the region. A tool for extraction and exploitation becomes a method for preservation. The father, sparked by a memory of an encounter as a child, inhabits the voice of a spirit known locally as Devchar, whose task is to protect the workers, farmers, and the once communal lands of Goa. Protection from what the filmmaker asks? Sanzgiri’s signature blend of 16mm sequences, 3D renders, direct animation, and desktop aesthetics are vividly employed in this lush, and ghostly look at questions of heritage, culture, and the remnants of history.

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