Nisam Asaf’s Since Forever: A Story of Survival, Fortitude and Female Solidarity
‘Since Forever’ opens with the protagonist Anu (Paski) filling Mineral water bottles in a factory. The film is set at a time when Covid relaxation rules are in place. She is wearing a mask; the camera focuses on her face, eyes reflect the weight she carries inside, who rather mechanically undertakes the task while her thoughts travel elsewhere. Nisam Asaf’s 15 minute short story reveals struggles, inner turmoil, and survival of a young woman who is seeking termination of an unintended pregnancy. As it portrays intense subject matter, with profound emotions, the movie is remarkable for the depiction of female solidarity and spirit.
Anu is disturbed and distressed; her colleague and confidant Sati (Priya Sreejith) pushes her out of the block and accompanies her to visit a gynecologist and later to meet an agent (Sam Mohan) who sells abortion medications. When the gynecologist tells the complications of the pregnancy – it is illegal to carry abortion as it exceeds the time limit and impossible since her health condition is weak – Anu resorts to unsafe measures for termination.
‘Since Forever’ doesn’t carry any surprises, elevation of scenes, or intense monologues. The movie takes a perceptive look at the agony, and beauty lies in the quiet progression of events. A choice Anu takes, withstanding her anxiety, and overriding the possible consequences is depicted in a simple yet intense and impactful manner. The movie doesn’t question the morality behind her choice nor does it preach the accepted societal norms. Instead, it presents a fully-realised young woman’s call, and in all frailties, how she exercises her decision with determination.
The movie carries a prolonging quietness. But visuals convey volumes. Anu speaks less; her crumbling face reveals her state of mind, and Sati articulates for her when she appears clueless, and instills courage. Asaf’s storytelling follows Anu in close-ups, instead of performance, her existence – her tired head, tensed face, and eyes carrying inner turmoil – are captured in honesty. The camera observes Anu when she fidgeting her saree pallu, biting nails, and twiddling the neck chain stressfully; when she glances at the baby’s sonogram on the monitor for a second and looks away; and when doctor speaks sexual assault could constitute a legal reason validating abortion, Sati and Anu faces at each other, and latter then looks down.
The scenes are brilliantly structured and serve purpose. As the movie progresses, Anu rises to occasions asserting her decision: when the doctor says there should be a “specific reason” for abortion, she replies: “I don’t want this child, Isn’t that a specific reason?” or when the agent asks both of them, who is his client? and Sati refuses to reveal, Anu says: “It is for me,” she then asks, “Will this (medicine) works for sure?” or when agent offers only a medicine and asks whether they want to take the deal, Sati is confused, but Anu replies sternly: “Yes.”
Besides the visual acuity, the director deserves credit for the daring use of silence. The camera resolutely attempts long stretches, without indulging in conversations, or even monologues. In the absence of words, or background scores, the scene communicates. In the economical storytelling, the actors gave their best output. Paski, especially, is pitch perfect in the matured portrayal of intricate emotions and she excels in both – measured expressions and concealing reactions.
‘Since Forever’ which won the Best Short Feature Award at the 16th SiGNS Film Festival 2023 is now streaming on Saina Movies YouTube Channel.
Watch the movie here:
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