Sydney Film Festival 2024: Something Like An Autobiography (by Mostofa Sarwar Farooki) | Review
Farooki’s latest feature film delves into a staggering view of politics, social patriarchy, genderism, and the grittiness of modernization through the eyes of a married couple.
Climb up the stairs of dreams nearing middle age, and a guard stops you. Not just any guard, but a lesson guard who supposedly has a major surprise. Either go back, or stay to unlock the hidden agenda. The question is, why now? Mostofa Sarwar Farooki has many answers here.
Farooki aims to generate empathetic sparks. He has a cherishable fondness for relationships and political issues in his films. Yet what makes this piece of art stand out is the infusion of his own personal reminiscences into a cinematic lesson plan.
Tithe (played by Farooki’s wife, Nusrat Imrose Tisha) has seen life as modest, filled with adventures and self-love at every corner. Love has always been her companion, with the support of her husband, Farhan (played by Farooki himself). Everything seems to shine brightly on the clean and hassle-free path she has walked all these years. However, a possibility to alter her choices emerges after a suggestive plan pops up between the married couple. What follows is a burst of unexpected events and devastation, akin to awakening a sleeping volcano.
Could there be a deceptive twist that alters the film’s course? Farooki, once again, introduces “what if” moments to convey his message of modern evolution. At one point, the film delves into the effects of endurance in a diary-like specification, reflecting shattered dreams. Additionally, the film explores the pressure of being trapped by social patriarchy, double standards, and genderism, evoking a form of self-destruction. A constant battle to clear away the residues of failures ensues, asserting that “life is a cycle of disappointments, where nothing comes announced,” even when one is perceived to be privileged.
Nusrat’s enlightening performance channels warmth through her quest for answers, while also placing her trust in her husband during hard times. Yet, her warmth can also transform into bold rage, allowing her to uncover and release herself from constant misery.
Farooki presents what might seem to be a subtle and gentle film about parenthood, yet hidden behind the curtain is a multiverse of turmoil under the roof of modernization and political plays. Farooki may have drawn from the essence of his 2009 film Third Person Singular Number, yet he is determined to make this piece stand out among his previous works. Something Like an Autobiography isn’t just about a married couple’s sincere memory or Akira Kurosawa’s alternate memoir. It’s a 360-degree view of the transformed and evolved Bangladesh from the perspective of a filmmaker and an actress-turned-mother, confined by the divide between social pressure and moral awakenings.
The next time you face a lesson guard on your own stairs of dreams, take a deep breath and embrace the moment. It’s as important as your own heartbeat.
Something Like An Autobiography is currently being presented at the 71st Sydney Film Festival, running from June 5-16, 2024.
