Matrubhoomi: A Nation Without Women (Hindi: , translation: Motherland) is a 2003 Indian dystopian tragedy film written and directed by Manish Jha. The film examines the impact of female foeticide and female infanticide on the gender balance and consequently the stability and attitudes of society. Its storyline bears some resemblance to real-life instances of gender imbalance and economics resulting in fraternal polyandry and bride buying in some parts of India.[1] It depicts a future in an Indian village populated exclusively by males due to female infanticide over the years.[2]
The story begins in a rural village in Bihar,[6] with the delivery of a baby girl to a village couple. Her disappointed father, who was hoping for a boy, drowns her in vat of milk in a public ceremony. Many years later somewhere around 2050 A.D.,[6] this unchecked trend leads to the village being populated mainly by males and a tiny number of older women. The now uncouth and aggressive young men of the village are desperate for wives and release their frustration through group screenings of imported pornographic films, cross-dressed dance performances, and even bestiality. They are shown to be willing to go to the lengths of human trafficking and courtship-driven emigration to procure spouses for themselves.
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Kalki becomes pregnant and everybody rejoices. A new servant boy is appointed for her care. As the news spreads, every man in the area claims paternity of the unborn child, which causes violence to break out in the village. The men kill each other off over rights to Kalki and her child. In the meanwhile Kalki goes into labour. The film ends on a violent but hopeful note, as she births a baby girl.[2][7]
Director Manish Jha's debut short film, A Very Very Silent Film (2001), had previously won the Jury Prize for the Best Short Film at the Cannes Film Festival in 2002.[8] He got the idea of Matrubhoomi upon reading, in a news magazine, about a village in Gujarat without women. Subsequently, while surfing the web, he read an article mentioning the fact that over the years, millions of girl children had fallen victims to gender discrimination in India. The film's French producer Patrick Sobelman asked Jha to produce a script outline on the subject, and he put out a two-page synopsis. Within a week he wrote a 200-page script, which he cut back to 70 pages. The project received a green light when its Indian producer Pankej Kharabanda came on board.[9]
Having grown up in Bihar, he said he was aware of the practice of female infanticide and wanted to write a script about a future village if the practice continued. As women became extinct, the film allowed him to bring to light issues like polyandry, bride buying and rape.[10]
Matrubhoomi's lead actress Tulip Joshi had refused the film after the first reading, but eventually decided to take it up. As she added, "But I'm glad I took it up finally, even though there was a point when I felt disgusted."[6]
The film was shot on a tight budget of Rs. 2 crore, in Renai, a remote village in Harda district of Madhya Pradesh in 29 days.[9][10] The cast included actors from Delhi theatre circuit, Sushant Singh, Aditya Shrivastav, Piyush Mishra and Deepak Bandhu.
Manish Jha was seated with half-a-dozen first-time filmmakers at a press conference during the Toronto International Film Festival. They were all young, but perhaps not younger than Jha, who began working on his first feature film Matrubhoomi, A Nation Without Women, when he was 23.
Most of the filmmakers, who were from America, Canada and Belgium, struggled to make films for about $100,000. Eyebrows were raised when Jha mentioned he made his film for $500,000 and that too in India. He did not have to mortgage his home or beg his parents to finance the film.
But he said he used up all savings, about $5,000, to make his first movie, A Very Silent Film, and felt so insecure about the whole thing that he shied away from showing it to many friends. He did not tell them he was sending it to Cannes, arguably the world's most prestigious and certainly most glamorous film festival. Its lucky debut electrified his career as the short film about homeless women in India won him an award.
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Jha's first feature film, also scripted by him, puts the subject of female infanticide in a startlingly new context. Imagine a day when there is an acute shortage of females of marriageable age. In desperation, an attractive young woman is 'sold' by her father to five brothers.
"It is not a film meant for those who are looking for a happy ending or want to see their women [on screen] in designer jeans," says Jha. But he also said he had no hesitation in making it. He knew many people would not like its subject, but as an artiste he felt he was not in the business of pleasing people in the conventional way.
You know how it is in India. We see so many films. That is our staple entertainment so many of us want to go into films. The good-looking ones think of an acting career. People like me want to go into direction.
There are a few but no one comes close to matching my regard for Satyajit Ray. I have watched many of his films again and again. I admire the way, the economy and elegance with which he tells a story.
If I can make a film one-hundredth as good as any of his better films... Ray made a variety of films. He made films for the young audiences, he made political films and he made films based on literary classics. His range was vast.
I don't condemn Bollywood because there are many Bollywood films that I love, but it disturbs me that there are many films there that perpetuate feudal values. I also listen to many nice Hindi songs. Some of them move me intensely [he hums a couple of lines from films such as Anand (Rajesh Khanna, Amitabh Bachchan) and Teesri Kasam (Raj Kapoor, Waheeda Rehman) which were made before he was born].
They ought to understand that a filmmaker could overstate something to drive [home] a point. But there are villages in India where it has become difficult to find marriageable women, either because of dowry deaths or female infanticide. There is this phenomenon of missing women. Some of them might have run away to a bigger city to escape oppression. Some might have been murdered. To those who decry my film because of their admiration for India and its culture, I would like to ask how these awful things happen in a rich and noble culture?
Not directly. It will be basically about Muslims in India, but just as in Matrubhoomi I have dealt with the exploitation of women in India in the hope that women who are exploited everywhere else, including America, will think about it [the exploitation]. My next film will also have a universal theme.
In 2003, Manish Jha released the film "Matrubhoomi," which translated means "motherland" at the Venice Film Festival where it won the International Critics Prize. The movie tells the story of a fictional village in India in the future. After generations of female infanticide and dowry deaths, the village is populated completely by men. Society in the village is unstable due to the physical, emotional, and psychological absence of women on the men. The men of the village become debased and brutish, turning to pornography, homosexuality, and bestial violence to release their sexual frustrations.
Without women, men are not human. This metamorphosis of the male into animal if the world were to become womanless is the theme of "Matrubhoomi: A Nation Without Women". Perhaps the first full-length feature film on female infanticide, Matrubhoomi is noteworthy, not just because it is imaginative, but because it is less imagined, and more real, than it seems. Over 35 million girls have gone missing in our country in the last decade; killed while still foetuses, executed soon after they were born, murdered because of sheer neglect.
Writer-director Manish Jha (whose A Very Very Silent Film, won the best short film award at Cannes in 2002), extrapolates from our current reality to imagine an Indian village where, due to routine killing of female newborns, women have entirely been wiped out.
Matrubhoomi uses relentless brutality to shock, but at a certain point, the shock turns to numbness, as Jha hammers away with endlessly repeated close-ups of Kalki's battered face with yet another man untying his pyjamas in the background. But the film makers are unapologetic. Says co-producer Punkej Kharabanda (the film is an Indo-French co-production): "Ever since Tulip's mother and sister saw the film, they have stopped speaking to me. In a way, they feel that we made Tulip go through what Kalki goes through in the film, and they can't forgive me for that."
If repulsion is what Jha is aiming to evoke, the film works. It works perhaps even better if, while watching it, one doesn't feel awkward about having forgotten that this male malevolence is the offspring of a womanless world, "the instability which can creep into society due to the absence of women-be it physical, emotional and psychological".
The film has a matured understanding of the subject and its depth and characters which is well stretched and detailed making the film as one full satisfying output.Even though at times it feels a little bit stretching to force some emotional elements without a doubt i can say it still possesses the power ready to blow anyone who confronts it.
In the land where women are worshipped as goddesses, thousands of cases of female infanticide go unreported every year. A practise which has led to an alarming fall in the ratio of men to women. The story is set in this village called Matrubhoomi where there are no women left. It revolves around the frustration of five sons and their father. They are unable to find a bride despite the assurance of their family priest-cum-astrologer. In a faraway village, the priest finally finds a girl called Kalki. What this girl goes through in this depraved world of men is the story of this film. be457b7860
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