by Keertana Sastry

This post was originally published on our partner website India.com:

The desire to foster South Asian culture in North America continues to be a growing trend—and thank goodness because for a country so boastful of its diverse and melting-pot status, there are still many cultures underrepresented in mainstream media.

Sure, we do see the emergence of South Asian influences in big cities sprinkled all across the United States; but there can always be more, we can always do more. That’s where the Dallas/Fort Worth (DFW) South Asian Film Festival really shines.

In its second year, the DFW South Asian Film Festival features a fantastically varied slate of cinema that truly portrays all aspects of South Asian life, both here and abroad.

Here is a sneak preview of a few films that will be featured during the festival, which will be held from February 19 to 21.

[Read Related: 2nd Annual DFW South Asian Film Festival Promises to be Entertaining and Educational]

1. “Help Us Find Sunil Tripathi”

This film is based on a story that was heard around the country. After the Boston Marathon bombings, the search for its suspects became a witch hunt for Sunil Tripathi—a Brown University student who, during the throes of depression, disappeared from his home. As his family searched for him, his name and face were plastered across the internet and television as a Boston Marathon bomber, making the situation all the more painful. “Help Us Find Sunil Tripathi” tells the family’s side of the story.

 2. “I Say, Ballaji”

[Photo Source: EduMedia India/DFW South Asian Film Festival]

Social media works as a powerful tool to unite communication and break barriers between teacher and students in this short film from Edumedia India.

3. “Miss India America”

[Photo Source: Miss India America Pictures/DFW South Asian Film Festiva]

4. “Saankal” (Shackle)

This gripping new film shines a light on the controversial tradition in some areas of India that forces young women to marry teenage boys in order to keep their families within the same clan or community. “Saankal” follows the story of two such individuals: the 26-year-old Abeera, and the young boy she is forced to wed, 11-year-old Kesar. “Saankal” will air as part of DFW SAFF’s Women’s Programming on February 20.

 5. “Supergirl”

[Photo Source: EduMedia India/DFW South Asian Film Festival]

“Supergirl” tells the story of a young girl who wishes to become a superhero. Along the way, she learns that every day people can be super too, through the power of kindness.

6. “Vanvaas”

[Photo Source:Facebook.com/vanvaastheshortfilm]

“Vanvaas” is a short musical drama about the differences in communication and customs between parents and their children in India. Generational gaps can lead to all kinds of conflict—but in the end, “Vanvaas” hopes to prove that love is more important than differing ideologies.

Buy your tickets now at www.dfwsaff.com. Individual screenings are $15 per person, but limited tickets will be available at the theater.

Born in Texas, went to college in Missouri and now living in New York City, Keertana Sastry has a unique perspective on being Indian in different parts of America. Keertana has been working as both an entertainment, culture and lifestyle reporter, as well as a casting assistant for the film and TV industry. She loves to infuse her Indian heritage into her work and life.

By Brown Girl Magazine

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Photo Courtesy of Varsha Panikar

“After so Long” is a poetry film created for Simha’s EP, which is streaming on Spotify, Apple Music and Amazon Music. The poem was collaboratively written by Simha, a U.S. native, and Jae, who is based in India, during the 2020 lockdown. “After so Long” was recited by Simha and their parents. In 2022, I directed and produced the film through my studio, Star Hopper. “After so Long” premiered on Nowness Asia in March 2022.

By Varsha Panikar

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As a South Indian American, I am aware of how non-brown Americans view the Indian film industry. One word: Bollywood. Bollywood and the South Indian film industry has always been lumped into the same category as Bollywood, despite the diversity. For Indians, South India is obviously different from North India, but non-brown people assume it would all be the same. This extends beyond Indian cinema; feeding into assumptions regarding other aspects of culture like language, food, and so on. People tend to assume all Indians speak Hindi or eat tikka masala at home rather than trying to understand the diversity of Indian culture. With time, especially with the help of social media, there was more accessibility to understanding the differences among these cultures, yet nothing truly spread across the globe. Then came “RRR.”

[Read Related: On the Road to the Oscars: M.M. Keeravani and Chandrabose’s ‘Naatu Naatu’ Redefines the World’s View of Indian Music]

“RRR” is a Telugu film from Tollywood. This South Indian film has become a worldwide sensation with its incredible visual effects, captivating plot, and catchy music. I was blown away by the reception this film got in the United States, especially from American film critics who were all praise. What impressed me the most was how more Americans clarified it was not a Bollywood film, and differentiated it as a Tollywood film. The number of people taking the time to learn the difference between Tollywood and Bollywood might seem simple, yet meaningful, nonetheless. South Indian films are incredibly underrated and are finally getting the attention they deserved. It is incredible to see the celebration surrounding the film and what it represents and means to this community and how we get to share it with the world. The hype was real, and then the awards season began.

 

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The Golden Globes top the list of some of the major awards for television and film and it was amazing to hear that “RRR” had been nominated in two categories for this award. Funnily enough in my own world, it aired on my birthday. Then came the moment when Jenna Ortega said “Naatu Naatu, RRR” and the song played as M.M. Keeravani approached the stage to accept his award. This song became the first Asian, not only Indian, song to win the Golden Globe for Best Original Song. The 80th Golden Globes saw many wins for the Asian community with films like “Everything Everywhere All At Once” and “RRR.” There is something beautiful about being South Indian in America and watching a South Indian song win an award in America on one’s birthday. There is a joy in getting to tell my friends, both brown and non-brown, about it and share the song, “Naatu Naatu,” with them. Sure it is Indian, but it is just a bit closer to home, and that closeness stands with a beautiful meaning. When it came to the Critics’ Choice Awards, it was touching to hear about how S.S. Rajamouli grew up with the encouragement of creativity and storytelling. It honestly inspired me to continue my own projects; I hope to see them prosper as well. 

[Read Related: Sri Rao and the Future of South Asian Diasporic Cinema]

After the win at the Golden Globes, the Oscars became highly anticipated for the Indian community, especially when the nominations for Best Original Song were announced. Of course, when the familiar title appeared once again, a victory felt within grasp. “Naatu Naatu” had a couple of big moments at the Academy Awards ceremony: the performance and the win itself. The performance was introduced by the absolutely phenomenal actress, Deepika Padukone, who, too, is s South Indian. Her introduction of the song brought forward the context in which the tune takes place, that is during 1920 under the British colonization of India. She reminded all of us of how significant the song was along with its catchy beat. When it came to the announcement of who won Best Original Song, it was a first-of-its-kind victory given that it was the first time an Indian film won in this category. The speech made by M. M. Keeravani was beautiful as he sang to the tune of “Top of the World” with his own lyrics to take in the moment. It was certainly an extremely proud day to be Indian anywhere in the world, and especially to be a South Indian.

Seeing non-brown folks acknowledging the diversity of Indian culture has been beautiful to witness. The cultural pride of saying an Indian film, specifically a South Indian film, won the Oscar, a Golden Globe for Best Original Song and two Critics’ Choice Awards so far is an absolute joy. Seeing South Indian representation, especially during the awards season, is inspiring for brown creatives. This has been a time of great cultural pride in the South Indian community, and as a South Indian creative myself, I am honored to see it.

Photo Courtesy: Netflix

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By S. Kavi

S. Kavi is a South Indian American writer, poet, and artist. Her work involves the exploration of South Indian culture, … Read more ›

Being a teenager is scary. Hormones, high school, trying to fit in — add to it a flesh-hungry demon from the Indian subcontinent and it becomes downright terrifying. At least, that’s what award-wining director Bishal Dutta’s debut feature “It Lives Inside” will have audiences thinking when it hits theaters on Sept. 22. 

From the producers of several blockbusters including “Get Out” and “Us,” “It Lives Inside” stars Megan Suri as Samidha. Samidha is an Indian American teenager growing up in a quintessential small town, where she’s one of only a handful of South Asian faces at her school. She has a sweet, hardworking dad (Vik Sahay) and a caring, but stern mother (Neeru Bajwa). Both of them like their daughter home early to make prasad for prayers and insist no one whistles in the house, fearing it’ll attract evil spirits. 

[Read Related: Megan Suri Talks ‘Never Have I Ever’ Season 2 & Decolonizing South Asian Mindsets]

Tamira has become the center of school gossip carrying around an ominous black mason jar, dwelling beneath the gym bleachers. One day, she corners Sam in the locker room, begging her for help from the “monster” trapped in the jar, but Sam is rigid. Her desire to fit overcomes her emotions. Tamira storms out — and then mysteriously goes missing. 

Little does Sam know, her childhood friend’s behavior and disappearance were brought on by the Piscacha — a flesh-eating Hindu demon drawn to negative energy — and Sam’s disbelief has just unleashed its terror back on her. 

“It Lives Inside” is a breath of fresh air. It has the nostalgic backdrop of a 1980s teen movie (think “Sixteen Candles” or even “Halloween”) but adds the thrill of an exciting new monster for horror fans, and looks for the final girl.

Audiences have spent decades watching and screaming at faith-based horror stories like “The Exorcist,” “The Conjuring,” and “Carrie,” but “It Lives Inside” is the first of its kind for Hollywood, drawing from Hinduism for its frights. 

Now, I can’t lie…when I first learned the story would be rooted in Hinduism, I was nervous. I worried that religion and culture may be used as a gimmick, but I was pleasantly surprised. 

Dutta’s approach is reminiscent of Bisha K. Ali’s with “Ms. Marvel” on Disney+. Characters speak Hindi and we see South Asian religious practices, foods, and clothing displayed prominently, in a natural and authentic way that other groups can easily learn and understand. The culture merely rounds out the story, it’s not the main character or conflict. 

The Piscacha, feeding on the despondence of its prey, may remind some of Vecna from season 4 of Netflix’s “Stranger Things,” but Dutta offers a fresh angle, alluding to the characters’ negative feelings toward their culture being the source of its power.  

He offers South Asian American audiences relatable family dialogues and dynamics, but also steers clear of cliches like showing popular kids as mean or Sam’s American crush unlikeable.

“It Lives Inside” isn’t a horror movie you’ll lose sleep over, but that doesn’t mean it’s without palpable moments of fear.

Thanks to Dutta’s creative shots, smart pacing and sensory visuals, in addition to the emotion-packed acting of its cast, the film successfully makes your skin crawl and your jaw drop on several occasions.  

The characters are smartly cast with several standouts. Suri is a welcome new face for the horror genre’s final girl and she delivers her role with the right amount of escalating fear and desperation. Meanwhile, Bajwa leans into hers with the passion you’d expect from a protective brown mom, though, at times, some of her Hindi drama tells come through. 

“Get Out’s” Betty Gabriel is also noteworthy as Sam’s teacher Joyce and an early confidant. Her support of Sam was a refreshing break from the “this person must be crazy” trope we see so frequently in demonic films. 

All that said, “It Lives Inside” does border on being formulaic. It follows a template and scares we have seen numerous times and ones that have done well historically. 

But in its familiarity, it also manages to feel fresh. With its South Asian twist, the film proves that even formulaic horror films can find new life through diversity and inclusivity. It raises the idea that they have the potential to scare wider audiences and tell more spooky stories by exploring new cultures and casts. 

While “It Lives Inside” is not perfect — the climax may leave you with a few lingering questions — it is a stylish and well-made film and a welcome piece of mainstream South Asian representation.

[Read Related: Kamala Khan As ‘Ms Marvel’ Is The Greatest Thing To Happen To Pakistani-Muslim-Americans]

Recent past has seen South Asian stars delve into many different genres on television and the big screen, but horror has remained largely untouched. Thankfully, “It Lives Inside” has set the table for some brilliant South Asian-based horror films in Hollywood for years to come. 

“It Lives Inside” made its world premiere at SXSW and has made its way through the film festival circuit. It will be released theatrically by Neon on September 22. 

By Ramona Sukhraj

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