Pure love, under the dome of resentment, grief, and obligation, finds a warm meaning in IFFLA’s narrative feature Sabar Bonda (Cactus Pears) by Rohan Parashuram Kanawade, where memories and encounters bloom with serenity.
Anand (Bhushaan Manoj) lies down on the pavement at the porch, while his mother, Suman (Jayshri Jagtap), sits nearby, leaning on the wall. They are close together in a resting mode, their minds flowing with self-thoughts. Suman gazes into blank space and slowly brings up the matter of marriage, explaining to Anand how she defended his refusal to marry when questioned by relatives who won’t stop asking. She continues her discussion, solidifying her cover story with detail and without remorse, while Anand listens with quiet reticence. He then turns toward his mother and utters a word he couldn’t keep hidden any longer – “Sorry.” A moment of silence prevails between mother and son as they both begin to wonder: what else is there left for them to hold on to?
IFFLA’s programming structure has always emphasized diversity and inclusion, particularly Indian diaspora films and LGBTQIA-themed stories. One of this year’s shining examples is Rohan Parashuram Kanawade’s Sabar Bonda – the only Marathi-language film ever to premiere at the Sundance Film Festival, and also the winner of the 2025 World Cinema Grand Jury Prize: Dramatic. The true triumph of the film lies in the subtlety of its characters, who never exaggerate their suffering, but allow it to unfold gradually and effortlessly, honoring both time and resilience.
Anand is facing one of the worst moments in a man’s life – the loss of his beloved father. Beyond grief and disbelief, he returns to his village with his mother to carry out the last rites alongside their relatives, where he must endure the weight of tradition and an unannounced encounter with a past connection, Balya (Suraaj Suman).
The film places major emphasis on traditional beliefs and cultural practices in rural communities, never diluting their intensity – often transforming them into questions of certainty. The acceptance of these practices comes with great hurdles, especially for Anand, who must follow a set of uncompromising rules as the son of the deceased. Elements of institutional oppression and spiritual uncertainty emerge, yet are framed as essential out of respect for the dead. This raises a central question: which rule is truly legitimate, and where is the guidance for affirmation? Is it all based on perception and personal experience? The realization is uncanny – some orthodox rituals feel so surreal, so detached from the modern world, that witnessing them is like stumbling upon a hidden reality – a rebelled belief that nonetheless persists with unwavering conviction.
Director Kanawade constructs the characters of Anand and Balya as individuals divided by duty and identity, bound by an incapacity to be free and true to themselves. Bhushaan Manoj and Suraaj Suman deliver captivating performances, expressing the battle between mind and emotion through silence – generating an intense wave of inner pain. Perhaps this is Kanawade’s way of portraying the raw truth of an ongoing struggle (one sadly still present today), for which there is no perfect antidote. The vacuum of pressure inside these characters is palpable – the constant need to gasp for the air of freedom, yet as if the oxygen itself is restricted by societal obligations and reputation. Deeply unsettling – yet it’s the safest form of endurance they know.
The director also erases every trace of homophobic violence and offers a safe space to nurture pure love. Conversations transform into serene memories, gradually slipping into attraction, becoming a shoulder to lean on – where intimacy and desire have no limits. This is a euphoric space where both characters cling to one another. Anadi Athaley’s editing, which ends each scene at a high point of change and realization, leaves an impact that lingers – planting a meaningful seed that quietly grows within us.
Sabar Bonda cradles the feet that walk a pebble-strewn path with velvety warmth – a therapeutic, sensual, and inexplicably comforting presence in a world of backlash and perception. Like cactus pears growing wildly on thorn-covered plants, waiting to be savored despite their sharp surroundings, the joy of becoming one’s truest self emerges only after realizing that the harsh, hidden truth is not something to be learned – but endured. Perhaps that is the purest form of love: untainted, unpolished – simply modest, yet deeply ardent.
Cactus Pears is an official selection at IFFLA 2025, running on May 6-10, 2025.
