Is there a right way of grieving? Momo Deal, the wonderful new short film directed by Dheeraj Jindal and now streaming on the YouTube channel of Royal Stag Barrel Select Shorts, offers this question within its 13-minute runtime. Grief outlines this story in a certain unflappable manner, providing a space for the jagged edges of pain to soften and heal. There is no two-way about it, and somehow that awareness is everything.
Akashdeep Arora and Anushka Kaushik in a still from Momo Deal.
The premise
When Mahima (Anushka Kaushik) suddenly dies, Naman (Akashdeep Arora) is left with no sense of closure. The film opens with her carefully planned-out, eulogistic notes, in which Mahima demands that, in the aftermath of her death, someday, Naman has to cry the loudest. How can he not? He is the best friend. But Naman does not cry, he cannot; there is no outward projection of his grief at all. That persuades Mahima to return as a ghost, just as she was- bubbly, radiant and unceremoniously glad. The two friends wander about the streets of Jaipur at night, reconsidering their lives and choices with a sense of relief.
The trick which Momo Deal lands so well is its tonal balance. It is a ghost story without the chills, a slice-of-life story without extended sentimentality. The tragi-comic element is never flashy or too inflicting in its movement. It is an effective device to look at our capacity for catharsis. Palak Shah's writing is sharp and succinct, flowing with a keen ear for dialogue. Mahima's effervesence is intelligently etched out, where she drops a casual reminder of the everyday realities of being a woman in a city. Now that she is dead, she gloats over the fact that she can finally wear shorts!
What works
Jindal's gaze is aware yet reticent, touching upon the way we reconcile with the loss of a close friend into an insightful and organic whole. Anushka Kaushik and Akashdeep Arora share an easy, fuss-free chemistry, which guides the narrative effectively in its shared silences. Thankfully, Mahima and Naman share a strictly platonic relationship. No unnecessary, volcanic ode to romantic love finds place here, which is refreshing. The loss of a close friendship is just as deep, just as painful.
Within its short runtime, Momo Deal gives us a lot to take in, with its elegiac simplicity. It might be too polished at a few points still. We might wonder a little at the way in which Momo Deal chronicles a sombre circumstance like death, but hold on a little more. Naman can only evade Mahima's death for a while. It's just as irreversible today as it will be tomorrow.
Death is finite yet so casual, so dreadful yet so abrupt. No attempt at summarising it will lead to a solution. No manual has an answer. One moves on minus that presence. The harsh, brutal blow that it leads to is rarely for the world to witness. Bittersweet and nuanced, Momo Deal works because it understands that complexity and lets it be.
Santanu Das is a Senior Content Producer at Hindustan Times with over 5 years of experience, writing on films, pop culture and film festivals. He has a keen interest in writing about South Asian independent films and has covered several film festivals, including Sundance and CPH: Docx. He also brings a sharp perspective to the monthly column called The Fault in Our Stars, where he writes about a recent film/series and what stops the ‘good’ from becoming ‘great’.
A gold medalist from Banaras Hindu University, Santanu completed his postgraduate studies in English from Jadavpur University. He is also a Rotten Tomatoes-certified film critic. When not watching films or speaking to celebrities, Santanu can be found reading a book. Some of his favourite films are Aparajito, Ponyo and The Double Life of Veronique. His favourite books include The Corrections, The God of Small Things and A Room of One's Own.
Santanu continues to write passionately about films and celebrity culture. He brings a relatable, as well as critically informed, lens to entertainment and culture for a wide audience.
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