Mohomaya, the five-part sequence on Hoichoi, opens with a scene so agonisingly gratuitous that it places the shady repute of the streaming platform–peddling mushy porn as creatively inert sequence–to disgrace. No phrases can suffice in approximating the horror however let me attempt. A half-naked man indulges in what is probably the worst shot BDSM in the historical past of intercourse scenes as a lady, her again turned to him, wears an animal masks. The digitally amplified lashing noise is punctuated by her moaning. I’m assuming at this level somebody from the crew thought there nonetheless remained some ambiguity.
To make his animalistic tendencies fully clear, the person says issues like: “I am an animal”, and heaps of hay fall in the room on cue. The scene refuses to finish, of course. His spouse stays tied up on the nook of the room. Turns out this is half of her grooming, and to make issues abundantly clear (once more) he says issues like: “you have to groan like an animal.”
Mohomaya, directed by Kamaleshwar Mukherjee, tries to be a lot of issues — portrait of a lonely home spouse, a commentary on feminine violence and a resuscitation of Freud’s Oedipus principle. But the one factor it achieves with unflinching readability is to be a inventive outrage of aesthetic sensibilities. Across the 35-minute runtime of 5 episodes, two tales unfold concurrently. One consists of a common household residing in a palatial kind of residence however for some purpose have solely a Scooty as their solely mode of transport.
The different contains a boy, son of the aforementioned animal-like couple, who retains dreaming about his mom and expresses his love by constantly tying her up. At some level they intersect and the sequence devolves into a full-blown show of deranged concepts of love and obsession: a cat is killed, a woman falls from a flight of stairs like a rag doll, and saris are sniffed prefer it is half of some foreplay. If the premise appears incredulous, they pale earlier than the garish visuals.
But the true testomony of Mohomaya’s ludicrousness stays the way it resists any kind of mental engagement; designed like some feverish inventive dream it unfolds like a limp nightmare. The sequence, starring Swastika Mukherjee, was touted because the comeback automobile of National-award profitable actor Ananya Chatterjee. The solely factor she does, nonetheless, is pile on her son as a ghost asking to be tied and untied like they’re enjoying some nursery sport. In one of essentially the most unsettling scenes, she tries stopping her husband by unhooking her shirt. Her college going son watches them from a distance. Before I might grasp, my wifi stopped working. I’m assuming out of disgust.
(Mohomaya is streaming on Hoichoi)