一位名叫克里斯的马拉雅拉姆语电影制片人前往加尔各答拍摄一部纪录片，以回应路易·马勒1969年执导的影片《加尔各答》。尽管他是印度人，但他对这座城市却和马勒一样陌生。影片开拍后不久，新冠疫情席卷全球，迫使他隔离。克里斯现在面对的不是加尔各答，而是与陪他一起来的妻子的关系，两人原本预计不会经常见面。他不再向外看，而是向内看。对于唐·帕拉萨拉来说，马勒的这部杰作提供了一种媒介，通过它，他不仅可以提出一些关于我们与现实关系的基本问题，还可以提出政治与电影之间关系的问题。如果当时的印度政府认为《加尔各答》具有侮辱性，那么现政权会如何看待这些本质上相同，但由印度人拍摄的影像呢？A Malayalam-speaking filmmaker called Chris sets out for Kolkata to shoot a documentary in reaction to Louis Malle’s 1969 Calcutta. Despite being Indian, he’s as much a stranger to the city as Malle was. Shortly after starting to shoot the film, Covid-19 hits the world, forcing him into quarantine. Instead of facing Kolkata, Chris is now faced with the relationship with his wife who accompanied him, with both not expecting to see that much of each other. Instead of looking outwards, he’s now looking inwards. For Don Palathara, Malle’s masterpiece offers a medium through which he can ask not only some fundamental questions about our relationship with reality, but also about the relationship between politics and cinema. If the Indian government back then considered Calcutta insulting, what will the current regime say to essentially the same images, but made by an Indian?
