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.
Holistic beauty trends are more prevalent than ever — that makes ayurvedic beauty brands incredibly sought-after, as well. Do you find yourself asking what your beauty products are actually made of? A lot of us even resort to food products for a skincare routine such as honey for face wash.
The term “Ayurvedic Beauty” is getting more recognition outside the South Asian world as well.
Ayurvedic beauty is coined upon the term “Ayurveda,” which originated in Hindu culture as the basis of utilizing the five life forms — air, water, ether, fire, and earth — to heal the human body.
[Read Related: The Budget-Friendly Beauty Guide you Need This Spring Season]
Ayurvedic beauty brands focus on using herbs and natural ingredients to create their skincare range and consumers around the world are attracted to these natural products.
Scroll down to see some Ayurvedic beauty brands founded by South Asians.
Soma Ayurvedic
Is your skin feeling a little dry this winter? Nourishing your skin with body oil will lend it the right amount of moisture — Soma Ayurvedic’s jasmine body oil can do that trick! Shop the oil, and their full line of products, here.
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Sama Tea
If you’re familiar with author and podcast Host, Jay Shetty, then you may have heard of his tea line, Sama Tea. Herbal teas provide many natural benefits. Has it been a stressful week? Try their lavender rose chamomile tea for some TLC. Check them out here.
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Sahajan Skincare
Know the Netflix show “Ginny & Georgia?” Loved the actress’ fresh-looking skin? Sahajan Skincare is behind that glow! They’re a must-try, featured in both Vogue and Elle India. See their full range of products here.
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Shaz and Kiks
This unique company showcases its brand with an emphasis on ‘holistic.’ Whether it’s bad hair days or excessive shedding, not only do Shaz and Kiks provide the products to help but also break down the science behind the problem. Go on your very own shopping spree by clicking here!
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Ranavat
Looking for accessible ayurvedic beauty products? Look no further! Ranavat is now in Sephora. With a beauty line that covers both hair and skin, there’s something here for everyone. See for yourself here.
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UMM Skincare
UMM Skincare is known for its brown sugar body scrub, made with natural ingredients, and Bakuchi oil known to improve signs of aging and hyperpigmentation. Try it for yourself by shopping here!
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Zaila
Give your skin the best by adding ZAILA to your daily skincare routine! Click here and start shopping!
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Taila
This brand is all plant-powered, and we’re here for it — you should be too! Check out their full range of products here.
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Inde Wild
Are you looking for brown skin-friendly sunscreen filled with nutrients? Look no further. Inde Wild has its very own SPF 50, with natural substances such as liquorice extract and cica, and it’s a mineral SPF suitable for all skin types. See what the brand is all about and shop it here.
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Mango People
I’m always in the market for brown girl-friendly lipsticks, and ones that are made of natural ingredients are a huge plus. Mango People does just this with their unique lipstick colors that suit all brown skin tones. Try them out here!
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Kama Ayurveda
Need to swap out your shampoo for something better? Try Kama Ayurveda’s Ayurvedic Hair cleaner, infused with a variety of herbs and pulses with key ingredients like vetiver, tulsi, rose, moong beans, and shikakai. They have a variety of products to choose from so start with your hair and keep shopping for more here!
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Forest Essentials
According to Forest Essentials, night time is the best time for hydration. Check out their night cream, filled with nutrients to enrich your skin. You can shop their wide variety of products here.
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Koppen Ayurveda
A brand made for modern living, their essentials are all worth a shot! Start shopping here!
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Aavrani
Looking for a new face mask to try? AAVRANI has a variety of face masks and explains in detail when you should apply the mask during the week depending on your skin type. Take a look here!
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Delhicious
Plant-based skincare, anyone? Delhicious has got everyone covered, so click here and fill your baskets!
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Pratima Skincare
Just getting into skincare and don’t know where to start? PRATIMA skincare has starter sets, with basics, that every woman can use such as vitamin C serum, essential oils, and collagen creams. Grab yours now by shopping here!
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Fable & Mane
Struggling with hair care recently? Fable & Mane includes various hair oils in their collection that help grow and nourish your hair. Not only that, they have a scalp detox line as well — definitely worth checking out. See their full range of products here.
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[Read Related: 10 Clean Beauty Products That’ll Have you Winning on Earth Day]
In a world that’s becoming more conscious of holistic living, embracing Ayurvedic beauty in your day-to-day is a step in the right direction, and these brands are here to help you get started.
Featured Photo Credit Kevita Junior | Left to Right: Tu hiya ka kare he, Tu kaha bate, Tu hamar ke bate
Thundering waves clawed on the body of the vessel as the sea swallowed the voices of terrified passengers. They clung to the shreds of the Eagle Speed as each hour submerged the ship deeper within the kala pani (dark waters). Steamer ships were sent for rescue, finding two children alone, clenching to the remains of the mast. The unscathed captain and crew fled in boats, leaving the lives of coolies (indentured laborers) to the fate of the dark waters. The Eagle Speed set sail on August 19th, 1865 from Calcutta to Demerara. This tragedy took the lives of over 300 hundred indentured laborers. The coolies onboard were not just casualties of the kala pani, but a larger system of British colonialism.
The crossing of these tumultuous seas was forbidden for Hindus, as it meant the severance of reincarnation and the unraveling of caste. Yet more than 2 million Indians were taken across the kala pani. The forbidden water carried stories along its transatlantic waves, bearing witness to history lost against its tides. The restraints of caste drowned along the voyages as surnames and relations were cast across the seas. They became Singhs (lions) and Maharaj’s (great kings), Brahmins by boat instead of birth.
[Read Related: The Culture Series Part 1: Descendants of Indentured Diaspora a Look at Fijian Representation]
These indentured workers were mainly taken from regions of Bihar and Uttar Pradesh to different corners of the globe, with some of the largest to the Caribbean. Guyana experienced around 238,909 workers, Trinidad 143,939 and Suriname 34,304. With 399 Indians, the Lalla Rookh docked on June 5, 1873, at Nieuw Amsterdam in Suriname, later becoming known as the coolie depot. As workers poured out of ships and onto plantations, they experienced violence and oppression at alarming rates, especially against women.
Coolie Belle
They were nameless and barefooted with gold jhumkas and bangles adorning their bodies. As tourism increased in the Caribbean’s, photographing indentured women on postcards became part of its selling point. These women became subjects to appease the white colonizer gaze and fetishized exotic ‘Coolie belles.’ A bulk of these postcards were shot in Trinidad and sold in local shops to visiting tourists. Yet these postcards failed to translate the hierarchy of power between the photographed and those behind the camera. The white European men who carried out these photoshoots chose backdrops that masked the real conditions of sugar cane fields and living quarters. Who were these women? What were their names? The women were juxtaposed with the term ‘Coolie,’ a slur for laborer and ‘Belle,’ the French word for beautiful. They were coined as laborers of beauty, yet their eyes tell a story of fear of pain.
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Suriname
Tu hamár ke bate? (Who are you to me?) Tu hiyá ká kare he? (What are you doing here?) Tu kahá báte? (Where are you?) Artist Nazrina Rodjan posits these questions that rummage through the minds of many Indo Caribbean descendants. Who were my ancestors? What did they experience? Rodjan aims to explore the experiences of indentured women through her oil painting series “Kala Pani.” In this series, she reimagines the postcards of indentured women alike the depictions of European nobility. In conversation with Rodjan she mentions,
I’ve thought long and hard about whether it would be ethical to reproduce these staged images of women who might have felt scared and uncomfortable being brought into these studios to be photographed by men. I will never know their true experiences and how they might have felt knowing a stranger in the future will decide to paint them in the same positions they were put in for the original photograph.
Rodjan’s art series started as a way to commemorate 150 years since the first indentured workers arrived in Suriname and expanded to include regions like Guyana, Trinidad and Jamaica.
Wanting to reclaim these images comes from feelings of injustice whenever I see these postcards. They were made from a dehumanizing perspective. Reclaiming these images becomes necessary knowing how the violence Indo-Caribbean women still face today is just a continuation of the violence brought onto indentured Indian women then. To me, creating this piece, symbolized the acceptance of questions remaining unanswered, stories being lost forever, and realizing that after a history full of trauma, there’s a treasure in the women that are still here to tell their stories.
The ratio of men to women arriving on these ships left little to no autonomy for women. Experiences of violence on ships and plantations were common throughout the Caribbean. Despite this, indentured women became trailblazers and pioneers in uprisings against poor working conditions.
Everything about these women seems to be a question we can never answer, but I decided to give them titles in Hindustani that are questions they might have for me as the painter who looks at them and sees both a stranger and a loved one. Tu hamár ke báte? Who are you to me?
Living in the Netherlands, Rodjan talks about her experiences tracing her ancestry and honoring this history:
Unfortunately, in the Netherlands learning about the history of Dutch colonization only meant memorizing all the different spices they brought in and listening to teachers talking proudly about the Dutch East India Company in elementary school. Tracing back my ancestors has so far only led to a picture of my parnani and a few more names in the family tree.
Guyana
On May 5, 1838, Anat Ram stepped foot on the rich grounds of Berbice, becoming the first Indian laborer in Guyana. The Whitby and Hesperus departed from Calcutta on January 13 and arrived in Berbice first then West Demerara. Over the course of 79 years, approximately 259 ships voyaged from India to Guyana. While the experiences of these ancestors may remain unknown, artists like Suchitra Mattai aims to revitalize the voices of our indentured ancestors.
[Read Related: The Culture Series Part 2: Exploring the Indo Jamaican Identity ]
Suchitra Mattai is an Indo Guyanese multi-disciplinary artist. Through her work, she uses the experience of her family’s migration and the history of indentureship to rewrite and expand our notions of history. In her piece, Life-line, a rope of saris pours out of a tilted boat, mirroring the experiences of her ancestor’s journey across the transatlantic. The saris serve as both water and a connection to two lands, India and Guyana. Mattai further explores indentureship in the piece “Coolie Woman,” depicting a woman seated with a sari, embellished with jewelry and flowers.
I wanted to reimagine the photo to give her agency. I also wanted to address the desire for people of the diaspora to connect to their homelands and ancestral pasts. The painted wallpaper drips and fades to parallel the way my memory of Guyana ebbs and flows, Mattai says.
Trinidad
Anchoring at the Port of Spain on April 22, 1917, the last ship to ever carry indentured Indians made its final stop. A system that bound Indians to an unknown land finally ended after 79 years.
To invoke conversation and pay homage to their memory, artist Gabrielle Francis creatively analyzes indentureship. Gabrielle Francis is an Indo Trinidadian queer interdisciplinary artist, writer and organizer from Queens, New York. In her piece “206:21 Queer Altar Mixed Media Performance,” Francis pays homage to her indentured ancestors with a focus on queer identities. The title 206:21 reflects the ratio of men to women that journeyed on the Fatel Razack, the first ship from India to Trinidad. A mirror is decorated with the colors of Trinidad’s flag along with six candles embodying the pride flag and vibrant red carnations. Written across the mirror is, “I wonder how many of you were queer?” A question that allows for openness and conversation around potential queer ancestors. Written records around indentureship were translated and produced by European men, leaving little to no room for women or queer folks. Francis’s work aims to transform and challenge Eurocentric narratives surrounding indentured history.
{insert photo} 206:21 Queer Altar Mixed-Media Performance, 2021
As descendants of indentureship, it becomes difficult to sit with questions that may never have answers. Visiting National Archives or exploring digital databases can help connect descendants to learn about their own history. As we unravel difficult experiences of the past it’s important to ask, how do we carry the legacies of our ancestors? How do we honor their sacrifices?
As they were stripped of their identities and reduced to passenger numbers, they fostered new relations—jahaji bhai and jahaji bhain (ship brother and sister). From shipmates to family, to present-day melodies of chutney music to the stew of pepper pot on Christmas morning, these bonds of community have evolved and are seen across the diaspora today.
