We have seen variants of RK Laxman’s Common Man in our pop culture for years. He is the archetypal silent protagonist, observing but never commenting. Several films - both long and short - and shows have experimented with variations of this trope, if we can even call it that. The idea is always how one entity sees all that is happening around them. Shivam Shankar’s Bhed Bakri Bhoot flips that premise on its head by using an inanimate object as that silent protagonist - a public toilet, or rather, its walls. And in 30 minutes, this sharp film delivers several punchlines, raises issues about our society with graceful subtlety, and yet never loses its spunk.
The premise
Bhed Bakri Bhoot is set entirely inside a public toilet, seemingly somewhere in North India. The premise is simple. One after another, people who use the toilet leave scribbles, graffiti, and messages on the walls, over the course of several weeks. It begins as a heartbroken Romeo’s frustrated exclamation for his ex, but soon descends into jibes at the government. And from then on, it’s free for all - from quips on democracy to insights on gender equality, you have it all. And all this while, the camera - and we - never leave the toilet. Our only connection with the outside world is the sounds we hear, almost eavesdropping on whatever is happening around.
A toilet satire, if you will
But Bhed Bakri Bhoot doesn’t need to venture out of our toilet. It is a cross-section of our society, very aptly imagined as a public toilet. It doubles up for our living rooms, our neighbourhood chaupals, and, quite fittingly, our social media. Because that is where our discussions and discourse take place. And this film is one giant discourse - men and women interacting with each other without meeting, adding on to what the previous person said by drawing from their life experiences and their biases, both political and social. But it is not academic. It remains in the territory of fun, while often rising to a sharp enough point that it may pinch or make you chuckle (depending on which end of the socio-political spectrum you are).
An ambitious canvas
{{/usCountry}}But Bhed Bakri Bhoot doesn’t need to venture out of our toilet. It is a cross-section of our society, very aptly imagined as a public toilet. It doubles up for our living rooms, our neighbourhood chaupals, and, quite fittingly, our social media. Because that is where our discussions and discourse take place. And this film is one giant discourse - men and women interacting with each other without meeting, adding on to what the previous person said by drawing from their life experiences and their biases, both political and social. But it is not academic. It remains in the territory of fun, while often rising to a sharp enough point that it may pinch or make you chuckle (depending on which end of the socio-political spectrum you are).
An ambitious canvas
{{/usCountry}}Bhed Bakri Bhoot tackles a host of issues, and surprisingly moves past each in seconds. There is some schadenfreude over demonitisation, one discussion in the background over inter-faith marriages, a stunning subplot about women lacking agency, lots of angst about the government having their way with you, and some jibes at our social system. Director Shivam Shankar never hides his view, his vision, which remains left of centre but never gets anarchist. For he injects some hope, too. Not all those who enter this toilet and ‘leave their mark’ are frustrated or jaded. Some are hopeful that ‘woh subah kabhi to aayegi’ (it will be bright again).
But what caps off this near-perfect short film is how it ends, with someone deciding that the ‘matter’ should be buried before it is escalated. Can it get any more Indian bureaucracy than that?
And if, after all this, you're wondering what bhed, bakri, and bhoot have to do with this, I'd say it would be hard to explain that phrase to anyone who didn't grow up in the heartland. Watch it to understand. It may not be Marvel, but it all ties in together.
Bhed Bakri Bhoot is streaming on YouTube.
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