Satire has always been a way filmmakers resort to when making political comments, with the fact that such works can occasionally even bypass censorship being an additional, but crucial, advantage. Mohammad Touqir Islam tries his hand at the genre with his feature debut, “Delupi”, and it is easy to say that the quality here is much higher than one would expect from a feature debut. Islam has mentioned that the title comes from the Deluti Union in Paikgachha Upazila, Khulna, and that the story is inspired by the lives, realities, and relationships of people in that area.
A national uprising and a massive flood hit the region of Delupi and its 13 villages one after another, plunging the area into crisis. As the previous leader, Sabina, has left, Zakir, a former local politician who has been in hiding, is sought out and eventually takes charge once more. His efforts are supposedly aimed at rebuilding the area and, most importantly, creating a sustainable dam, since the old one no longer seems functional. In reality, however, his agenda is much more personal and involves the various allies around him.
At the same time, Mihir, a young activist from the area who is social media savvy, opposes the resurfaced leader, while Partha and Nupur, two youths, try to find space for their love despite the strong disagreement of the girl’s father, with class differences and local rivalries weighing heavily on his mind. Bian’s father, on the other hand, is a member of a theatre troupe who have started to question their survival in this power vacuum while trapped in a state of perpetual rehearsals.
Although Islam’s approach is characterized by humor from beginning to end, the comments here resonate as realistic as they are impactful. The aftermath of the protests and the constant issues Bangladesh faces due to rising sea levels form the foundation, with the director, who also serves as cinematographer, presenting the floods in a way that both guides the story and allows for a number of panoramic shots of striking beauty. That beauty, found in a land submerged in water where people end up living on small islands surrounded by mud and rivers, is indicative of the ironic tone that runs throughout the narrative.
The true satire, however, revolves around Zakir, who emerges as the embodiment of everything politicians have ever been accused of. The initial scene highlights his cowardice, while his connections with extremists, his evident desire to cheat his voters out of their money, and his tendency to present other people’s deeds as his own and disasters as miracles are all eloquently portrayed.
Within this setting, and given the fact that Zakir remains popular, particularly among the older population, Islam introduces another pointed remark. Love, dreams, art, and youth in general suffocate in such an environment, with the rest of the main characters essentially functioning as representatives of these concepts. It is here that the dramatic dimension of the narrative comes to the fore, in transitions that are notably smooth, highlighting both the direction and Saleh Sobhan Auneem’s editing, which maintains a relatively brisk pace that suits the aesthetics nicely.
The ending is somewhat romanticized, but as a hopeful conclusion that also completes a narrative circle and suggests how the country could change, it ultimately works.
In terms of performances, MD. Zakir Hossain as Zakir clearly stands out, presenting his blend of pitiful figure and cunning demagogue in a way that remains impressive throughout. Rudra Roy as Mihir is also quite convincing as the disillusioned activist, while the chemistry between Chiranjit Biswas as Partha and Aditi Roy as Nupur is one of the most pleasant aspects of the whole work. Lastly, Prashanta Ray as Prasanta and King Ugrases in the play within the story concludes the excellent acting on display, with his theatricality being particularly enjoyable to watch.
“Delupi” is an excellent work, both highly realistic and intensely funny in its satire, a true gem that shows how great cinema can be achieved with very limited resources.
