Kapila

A young disciple of Indian director Mani Kaul, Sanju Surendram has learned from him that the perfect film is a film “in which movements communicate and silence speaks”. He found the perfect subject for the perfect fi lm in a female Kutiyattam performer, a ritualised form of theatre from South India, in which feet stomps and eye movements are strictly codified. True to her silent vow, Surendram explains nothing, she only shows for instance how the rain may change the dance.