Anik Dutta has once again proven himself as a cerebral director. The title of the film is also no less of a pun with a second meaning below the veneer. It also means “Past of the future” i.e. the “present moment”. A master in punning with words, this film was a deeper probe into the putrid state of affairs in Indian politics, with a lot of focus on Bengal politics. He has been blatant in building this political satire, with merciless portrayal on the state of affairs in West Bengal under the garb of “Unnoyon” (Development). “Baje kai nana kai nana ogo unnoyoner dhaak” a simple folk song with “bauls” sending the message, reminds one of the stylistic representation of the directors like Kuro Sawa where such representations are common. The spelling of “FLIM” CITY was also shown more than once to highlight the quality of people that rule the majority of film industry now. The little cameo by Chandan Sen, who is a producer of film with absolutely no polish, taste of knowledge on films, and yet controls a share of film industry, was excellently portrayed.

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He took on the 34 years of leftist rule, with the anglicized “Harry”(Harishadhon) making jibes at Sumanta Mukherjee every now and then. Sumanta, who was a communist who couldn’t make much of a dent with his ideals has to painfully live (and die) through the death of leftist rule in Bengal. I particularly loved the way Left rule or “Bum” front was presented as an oxymoron, in that a “bum” can only be where it belongs and never at the front, thereby reducing the left rule to a rear end literally.  The goon turned painter who extorts money by selling his below average paintings was a very direct innuendo to our current Chief Minister whose rather hollow paintings have auctioned for tens of millions of Rupees by people with ulterior motives, while truly talented artists struggle to sell their paintings. The state of Indian politics has also been put under scanner with comments on beef ban and religious fundamentalism. The current Gandhi family was also not spared and their Italian roots was underscored. I believe a few sleazy remarks could have been avoided, as Anik doesn’t really need to depend on such resorts, especially in the street side lingo of the ruling party’s leader, or the short name of “Titli”. If at all, that was a crude humor in my opinion. Miss Shefali’s reference was also artfully baked into the narrative. The name was masked as Miss Rupali, who had created a bit of stir during Ray’s “Pratidwandi” filmed in 1970.

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“Police tumi joti maro, maina tomar ek sho baro” (Police, howsoever you beat us up, your pay will still be Rupees 112), a popular slogan during the Naxal regime, was also shown. The exact manner and even posture in which some noted ruling party members had accepted bribes was also portrayed well. The hypocrisy of current ruling party of demonizing “Maoist” but at the same time fondly remembering and glorifying Sidhu Kanu was also subtly brought out.  The very fact that the Bengal Chief Minister has forcefully banned it for screening in almost all theaters except for a handful theaters in the mofussils, also corroborate some of the accusations on her dictatorial rule in Bengal.

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Over all the film shows all that is in a decadent state in the political firmament of India and Bengal. However, where is weakens is that the director doesn’t have an original statement or an alternate recommendation after painting all the decadence. I would have loved to see a painting that comes as a hope of a better tomorrow, even though it may come as a magic realism amid all the drudgery, corruption and decadence. At least, I can expect that from a talent like Anik, to say the least. I can’t believe that absolutely no good has happened in Bengal in 8 years of Trinamool reign.

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I would highly recommend watching the movie to form your own individual opinions.