Image credits: Netflix
The second short film of ‘Paava Kadhaigal’ is titled “love paana uttranum” which means “if you love something, set it free”. The title captures the essence of the short film, emphasising the power of love to confront rigid societal norms and the sacrifices the characters are willing to make for their love and freedom.
The plot centres around twin sisters Aadhilakshmi and Jothi Lakshmi, who come from a rural village dominated by their father, Veerasimman. Jothi lives in the city, while Aadhilakshmi stays in the village with their father. Veerasimman appears to publicly support inter-caste marriages for political motives. However underneath this facade, he maintains profound hatred for lower-caste people. To restore societal equilibrium or “balance”, he orders his henchmen, led by Narikutty, to kill those couples who marry outside their caste.
A watershed moment happens when Aadhilakshmi deceptively believes in her father's willingness to change his views, and confesses her feelings for the family's driver, who is of a different caste. She confides in Jothi Laxmi and encourages her to come to the village. Jothi Laxmi, on the other hand, is well aware of the dreadful consequences of their father's rage and warns her against it. However, Veerasimman contemplates calling an end to these atrocities now that his daughter is involved. Narikutty induces him otherwise, demonstrating that killing his daughter will set a dreadful example while also preserving the community's values and honour, which had been created through years of sacrifice. Veerasimman, ultimately, agrees to kill Aadhilakshmi and her partner. Narikutty devises a scheme that results in Aadhilakshmi's death and her partner endures a similar fate, which is disguised as an accidental car crash. Jothi Lakshmi comes back to the village with her friends Penelope and Bharani, only to find Aadhilakshmi dead and the oppressive atmosphere continuing to exist. Narikutty beats Bharani, accusing him of having an inter-caste relationship with Jothi. Penelope then confesses her lesbian relationship with Jothi, Narikutty perceives the relationship as an elaborate scheme. Penelope and Bharani receive death threats at Aadhi's funeral, making them leave the village, leaving Jothi behind. Jothi begs her father to spare her life and swears she would never return. Surprisingly, Veerasimman doesn't object when Penelope and Bharani return to pick her up. Penelope then tells Veerasimman and Narikutty that Jothi's lesbian relationship was a cover up to avoid violence. Years later, it is shown that Veerasimman lives in France with his daughter.
Aadhilakshmi and Jothilakshmi navigate intersecting issues of gender, caste, sexuality, and social norms within a significant geographical and historical background in the short film. It exposes their significant struggles inside a rigid social structure, delving deeper into the complexities of intersectionality and its tragic outcomes.
Village as Microcosm
The geographical setting of the village becomes crucial in the plot, serving not only as a backdrop but also as the catalyst for the tragic events that transpire. Within a larger cultural and geographical context, the village is caught in the conglomeration of the caste system, which has formed a rigid social structure where crossing lines is unimaginable and has a profound influence on the village's dynamics. The geographical seclusion of the village serves as a vantage point for the preservation of honour and age-old customs, making it a hostile setting for those who dare to challenge the status quo. Moreover, the rural-urban gap, demonstrated by Jothi's urban lifestyle and Aadhi's rural upbringing, underlines the enormous impact of geography on social norms. Urban areas provide more exposure to different perspectives and progressive ideas, creating an atmosphere favourable to change. Rural communities, on the contrary, tend to be more resistive to societal changes, increasing the gap between these two worlds. However, Veerasimman's eventual escape demonstrates that change often calls for exposure to different settings and the willingness of individuals to break free from the oppressive society.
Media's Limited Reach
The village's self-contained ecosystem indicates the minimal influence of mainstream media. Caste-based violence and atrocities are largely unreported, leading to their concealment on a larger scale. This lack of media presence, combined with the village's seclusion, keeps the villagers blissfully uninformed of significant concerns, including the existence of the LGBTQ+ community as represented by Veerasimman and others on knowing Jothi’s alleged sexuality. On the other hand, Narikutty can be seen giving a warning to those involved in the violence, to execute the killings with subtlety. Consequently, while the media exists on the outskirts, its influence is limited within this insular society, allowing deeply seated injustices to continue to exist in the shadows. The mere possibility of someone capturing these actions and sharing them on YouTube instils fear, emphasising the potential consequences of such exposure making the oppression a subtle affair.
Legal Façade
In a village where the caste system holds sway, principles of the right to life and dignity are hinged on an unbalanced scale. The legal system is frequently corrupted by deeply rooted norms, as demonstrated by Aadhi and her partner's fate. Veerasimman’s influence, as an upper-caste figure, raises concerns of police bias and under-the-table collusion with them. This is evident from the scene where the police lodge a fraudulent FIR against Aadhi's boyfriend for theft. It underscores the role of law enforcement agencies in eliminating discrimination, as the police’s caste-based biases may cause them to downplay or dismiss cases reported by lower-caste individuals. This mirrors a broader pattern where marginalised communities get unfair treatment from the authorities. In a legal system where measures such as The Prevention of Atrocities Act exist, they are still ineffective due to poor implementation and cases remaining unregistered under these crucial laws. This not only undermines their purpose but also perpetuates the cycles of discrimination.
Image credits: Netflix
Patriarchy's Iron Grip
Power dynamics exist in various social spheres like family, caste, society, and personal agency. Veerasimman holds considerable power as a dominant patriarchal figure in the family. His power extends to decisions about his daughters’ relationships. His façade on inter-caste marriages for political gain demonstrates how people in powerful positions can manipulate social issues to their advantage. Veerasimman's status as a custodian of caste-based norms and honour grants him significant power in the village. Narikutty and his men are the enforcers of these caste-based power structures who use violence to maintain control. Societal norms dictate as to what constitutes acceptable behaviour in the village. Narikutty's successful attempts to maintain caste purity illustrate how the power of these norms can influence an individual's actions. The power dynamics become even more unbalanced when individuals in positions of power like Veerasimman can influence the police, who are supposed to uphold the law. However, personal agency, exemplified by Jothi and Aadhi's choice to love someone belonging to a lower caste, challenges these power dynamics. This act of resistance shows that individuals can defy social expectations and power structures, but they often come with a high price.
Intersecting Identities
As women, Jothi and Aadhi are expected to not only conform to their traditional gender roles but also with caste expectations and submit to their father. Gender roles dictate their life choices while caste impinges on their status in society which is defied by these women. Aadhi and Jothi's intersecting identities adds further to the complexities, which reflects in the interaction of caste, gender, and sexuality variables. This also challenges the conventional binary notions of gender and the deeply entrenched caste system.
Aadhi being an upper-caste woman has certain privileges, however it also brings forth a number of expectations, including maintaining the family’s honour. The driver being a lower-caste man is unquestionably an unsuitable suitor because it breaks the norms that keep them on an unequal social status. Aadhi's intersecting identity as an upper-caste woman in love with a lower-caste man represents the intersectionality of caste and gender. Her identity is deeply influenced by her caste and shapes her experiences. Growing up in a rural area dominated by caste hierarchies, she experiences the weight of systemic discrimination, her choice of a lower-caste partner exposes her to additional layers of discrimination. The caste-based oppression she faces is compounded by the fact that, as a woman, she is expected to adhere to the norms set by her upper-caste community. Further, an inter-caste marriage would face resistance due to the preservation of caste purity and social hierarchies. Aadhi’s gender identity intersects with caste dynamics, making her doubly vulnerable to societal pressures and patriarchal control.
Similarly, Jothi being an upper caste woman is expected to conform to the traditional societal expectations of getting married to an upper caste man. At first when Narikutty suspects her of being in an inter- caste relationship with Bharani, they beat him up and assert that Bharani’s lower caste status and him being from a place like Dharavi, can never dare about loving an upper caste girl. This highlights the intersectionality of gender and caste identities of Jothi. Later, Penelope’s revelation about them being lesbians, adds a layer of discrimination in Jothi’s identity and underlines the intersectionality of gender and sexuality. Veerasimman and Narikutty remained unconvinced about their sexuality even after they punctuated a kiss. Narikutty further tries to convince Veerasimman that this is just a facade. This shows that the idea of a lesbian relationship is so unbelievable for them and demonstrates the cluelessness surrounding LGBTQ + identities in the village. This also exemplifies their deeply rooted heteronormative beliefs. This heteronormativity assumes that heterosexuality is the default sexual orientation, which caused confusion and disbelief amongst Veerasimman and his men when they came to know about Jothi’s sexuality. Such heteronormative expectations also have significant implications on how people view relationships and gender roles, thoroughly reinforcing the traditional binary roles in heterosexual relationships.
However, a plot twist reveals that the lesbian relationship between Jothi and Penelope was, in fact, a desperate act to escape violence. One can only begin to imagine the dreadful consequences that Jothi and Penelope might have endured had Veerasimman not relented and chosen not to act on Narikutty's advice to kill Jothi as well in the name of honour.
Conclusion: Envisioning an Inclusive Society
Conclusively, this short film of Paava Kadhaigal powerfully conveys the pressing need for our society to adopt a more inclusive perspective when it comes to gender, caste and sexual orientation. It also calls for acknowledgment of the diversity that exists beyond the rigid confines of heteronormativity. The village’s self-contained ecosystem limits the role of law and media along with a portrayal of the tedious challenges the characters come across when they defy the social norms and break free of it. In the current narrative, the antagonist does not just represent a father but exhibits the interplay of societal norms and expectations that affect his decision making. It empathises that Aadhi, who faced dreadful consequences of defying these norms because she was motivated by love, unflinchingly highlights the grim reality of the society that prioritises 'honour' while committing the most dishonourable and inhumane acts themselves. These issues only further deepen the intersectionality of women in society because of their already existing inferior position against men, and then the added taboo of their sexuality and caste. The short film also underscores how unequal power dynamics perpetuate discrimination and violence, emphasising the necessity of addressing these dynamics for the sake of greater equity and justice. Through the prism of this episode, intersectionality transforms from an academic notion to a lived reality for innumerable people. It encourages us to imagine a society that recognizes and welcomes the intersections of gender and identity. As we aim for a more just and tolerant society, we may work towards a world that is more inclusive, egalitarian, and empathetic, where the diversity of human experiences is cherished rather than stifled.
By Kavya Agrawal
Kavya Agrawal is a 3rd-year law student at Jindal Global Law School, passionate about exploring gender issues and advocating for equality.
References
Paava Kadhaigal. (2020). Netflix. Retrieved September 24, 2024, from https://www.netflix.com/in/title/81341216.
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