Celestina and Lawrence explores post-demonetization India through the intertwined lives of two tribal migrants, looking at urban alienation, identity, and resilience with lyrical visuals and powerful storytelling. Utpal Datta reviews the film.
Celestina and Lawrence is a compelling Indian independent film that follows the lives of two tribal migrants navigating post-demonetization urban India. Directed by Vikram Kumar, the film sheds light on socio-economic struggles, identity loss, and emotional resilience through an evocative narrative and striking cinematography. With themes rooted in tribal displacement, poverty, and the impact of demonetization, this socially conscious drama uses regional dialects and authentic performances to highlight the often-overlooked realities of marginalized communities. Blending documentary realism with cinematic poetry, Celestina and Lawrence stands out as a poignant commentary on modern India's fractured urban landscape.

The film commences with a portrayal of a young tribal woman navigating the urban landscape in an auto rickshaw. Her facial expressions convey worry, anxiety, and a measure of determination. The prolonged shots indicate a sense of preparation for subsequent events. At one juncture, the auto rickshaw halts in a suburban region where the young woman dines at a modest tea shop situated on the periphery of the city. Subsequently, the woman approaches and opens the gate to a newly constructed two-storey residence. She cries out and searches for someone. A man on the porch hurls insults at her, instructing her to depart; however, she remains and continues to scream. The man forcibly ejects her from the premises, at which point another man intervenes and assaults her.

In the following scene, the young woman washes her face at a basin in a well-kept concrete room. A young woman dressed in uniform is seen explaining something to her. The young woman's attire and appearance imply that this house is not hers. The girl in uniform appears to be her sister, raising questions about their relationship to the house and her clothing.

Narrative Depth and Questions Raised
These two scenes testify to the director's mastery of cinematic narrative. The technique of presenting the young woman in the first scene shows that the man refuses to give her the rights she desires, proving it through the use of physical force against her. This scene raises various questions: Who is the young woman? Who are the two men? Why this protest? Director Vikram Kumar has skilfully created a complex narrative that raises many questions within just a few shots, effectively engaging the audience with the film's main content.
The next scene answers some questions and takes viewers into the intricate construction of the story. The director reveals the film's informational elements gradually, and this narrative technique deepens the audience's connection with the story. The second scene concludes with two sisters talking in the washroom of a petrol depot, one of whom works as an oiler there. The answers to the initial questions are provided at the scene's end, enhancing the viewing experience and allowing the audience to immerse themselves smoothly into the film. As soon as the young woman's character becomes clear, a name appears on the screen—'Celestina.' The story continues with Celestina's past pain, struggles, and uncertain future.
Eventually, a young man enters the story. His identity is soon revealed as 'Lawrence,' displayed on the screen. The narrative of Lawrence unveils details about both his life and that of Celestina. The audience eagerly anticipates the moment and manner in which these two characters from starkly different backgrounds will converge. The film's structure visually resembles the English letter 'Y': two lines extend from opposite sides, meet, and then progress onward.

Both main characters come from tribal communities, and their life struggles form the film's central narrative. Creating films about the lives and societies of tribal or marginalized peoples has become a trend in Indian cinema. Most films depict some of the beliefs, superstitions, and customs prevalent in these societies, which serve as a colourful and surprising discovery for mainstream audiences. Furthermore, tribal people are often portrayed primarily within the confines of their own communities. However, this film, Celestina and Lawrence, challenges that stereotype.

Tribal Identity in an Urban Landscape

Lawrence and Celestina have relocated from their village to the city in search of livelihoods and are struggling to survive in their own ways. Storyteller-director Vikram Kumar does not emphasize their tribal identity in this film; instead, they are depicted merely as individuals grappling with their environment in the city. For the director, they are simply part of the urban social fabric. The director constructs a sensitive and realistic depiction of the challenges faced by tribal workers in contemporary urban life, addressing issues such as poverty, underdevelopment, and the changing social dynamics within tribal society. The portrayal crafted by the director is authentic. He employs his camera not just to capture photographic aesthetics, but to create a social reality by incorporating various cinematic elements into the frames.

The background music used in the shots where the young woman walks on the railway tracks creates a sense of wonder about whether she is going to commit suicide. In another scene, when Lawrence wants to express his inner feelings, the director captures some shots of the open space outside his accommodation and overlays Lawrence's words onto it. Lawrence's thoughts seem to have emerged from the room and spread into the open world outside. The director has a particular affinity for scenes reflected in water. This water can be a small puddle of rainwater or the water of a mountain river or stream, reflecting special moments of the hero or heroine. While these shots may not add much dimension to the narrative, they serve as an attractive and valuable ornament to the film's visual appearance.

Post-Demonetization Context and Personal Setbacks
The film is set in the aftermath of the demonetization of 2016. Lawrence came to the city with the dream of becoming a builder. However, the construction business declined after demonetization, and Lawrence's dream did not materialize. He worked as an assistant to a builder but had to settle for a job as a watchman. The girlfriend for whom he spent money on education also left Lawrence's life. Lawrence lives in the watchman’s room of an apartment. He keeps a spherical aquarium in his room, gazing at the fish and imagining things. Although there is no similarity in appearance, the scene is reminiscent of a scene from Wong Kar-Wai's Chungking Express.

In post-demonetization times, job scarcity became a major social problem in Jharkhand. People started going to Delhi in search of jobs. Police suspect Celestina of being involved in human trafficking and demand money from her, threatening to imprison her. The man she loved has left Celestina with a baby in her arms. People from an NGO have come forward to help her.

The story is set in both urban and rural areas. The director faithfully depicts time and society through the lead characters as they navigate these two settings and the diverse environments and people they encounter.

Cinematic Realism and Documentary Elements
One of the notable aspects of the filming is that most scenes are composed, and the camera captures them as if they were events happening, not simply arranged scenes for the film. As a result, the narrative sometimes takes on the form of a documentary, enhancing the film's credibility. In some scenes, however, the planned form is more pronounced, and the combination of both styles adds colour to the film's discourse.

There is a mixed variety of people in the story and on the screen, but they appear for a short time. These characters are one-dimensional; they exist primarily to support the director's statement. However, the characters stand out as credible due to proper aaharya and baasik elements of acting. Each character is written so precisely that they contribute to the film's growth. The only exception is Lawrence's father, who didn't resemble Lawrence's father in terms of appearance and manner of speech. The character of the Maoist revolutionary, who appears briefly, is interesting, but understanding this requires knowledge of the context in Jharkhand. The two lead actors faithfully portray the struggles, dreams, conflicts, and frustrations of the two characters, as well as their loneliness.
The editor of the film deserves special praise. As the title suggests, the film revolves around the actions of two characters. Both characters are lonely despite being surrounded by people, displaying different paces and levels of excitement in their lives. The heroine's character moves at a fast pace, while Lawrence, on the other hand, is slow, somewhat thoughtful, and deliberate. The editor has balanced the contrasting paces of these two characters and propelled the film forward harmoniously. Editor Kshama Padalkar deserves commendation for this work.

Music and Sound as Emotional Bridges
The film's music is exciting, using melodic folk tunes to bridge the urban backdrop and rural emotions. The blend of water drop sounds with a folk song showcases the creativity of sound engineers Ajit Niman and James Horo. Additionally, the Western music composed by Adrian Copeland and Andy Cartwright enhances the characters' moods and situations.

The film is in Hindi, yet the characters primarily communicate in the local Nagpuri dialect, making it resonate. Writer-director Vikram Kumar has positioned himself as a socially aware and artistically responsible filmmaker by showcasing the issues faced by tribal individuals migrating from rural regions to urban centres for survival and sustenance in a clear, incisive, and unbiased way.