Director Subhadra Mahajan: Second Chance is a very feminine film
They say, "The night is darkest before dawn..." and it has always been a phrase used to instill hope in our minds. For debutant director Subhadra Mahajan, her first film, Second Chance, was a journey through a similar dark night, which, fortunately, found its dawn recently with a limited theatrical release. 'As independent filmmakers, we struggle at every level—while we are scripting, putting our team together with hardly any resources, shooting against all the odds, finding more avenues for funding during post-production, and getting through the festival run with lots of luck. However, I was told that this kind of film would never see a theatrical release in India, as the country is not particularly known for respecting artistic or indie films. But seeing the film on the big screen left me with a feeling of disbelief, as it was a dream come true,' says Subhadra.
In Second Chance, the protagonist Nia (Dheera Johnson) goes through her own journey of healing after experiencing a major trauma. In her family's summer retreat in the Kullu Valley, she finds friendship in the form of the seven-year-old Sunny and guidance from the 70-year-old Bhemi. Second Chance also showcases Nia's relationship with nature, and the spiritual connection with Himachal Pradesh's Devis and Devtas. 'The region of Kullu still has a strong belief in its ancient, but unique, system of worship. Since my actors and I are locals, we made sure that we gave offerings to the different deities. We sought blessings from the main deity of the valley, Hidimba Matha, because Second Chance is a very feminine film. The house where we shot the film has the prevalence of a Nag Devta, Vasuki Nag. So, completing the shoot of the film, against all odds, felt like the gods and the goddesses were on our side,' says Subhadra. Delving deeper into the film's themes, she says, 'Second Chance is about healing and unlikely friendships, but nature was an important theme. We need to expand our worldview, and make friends outside the human race, too. A river or an owl can be your friend, like they were for Nia.'
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Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories 'Second Chance': Subhadra Mahajan's Debut Is an Assured Tale of a Reawakening Tatsam Mukherjee 6 minutes ago In this day and age, where films tend to boast of a scope of cinematic universes, giant problems, global disarray, Second Chance is a relatively contained effort. A still from 'Second Chances.' Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now Nia (Dheera Johnson) is scared. In the first scene of Subhadra Mahajan's Second Chance, we hear the protagonist's voice over a black screen. She's calling Kabir – her partner, presumably. She's pregnant, and doesn't know what to do. 'Please call me back when you see this,' she drops him a text, one of the many that have gone unanswered. 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The class commentary is not particularly novel here; with Nia refusing Raju and Bhemi's meticulously prepared meals in the first few days, too consumed by her own grief to be considerate of their labour or the wasted food. As Raju has to step out of town for a court hearing, Nia is left with Bhemi's caution and Sunny's unapologetic wonder. It takes a few days for her to warm up to them – but it takes the extreme winter to thaw their differences. Second Chance could initially appear like it's unfairly indulging its protagonist, given the sparse dialogue, the focus on Nia's grief, and the aesthetically-framed black and white frames of her isolation. But then the film slowly tilts towards the environment and her caretakers. An older shepherd, who brings raw wool to Bhemi to be spun into yarn, appears in two superb scenes, presenting the film's wider eye on the world. 'The weather has changed, man's principles have changed,' he bemoans to Bhemi in one scene. He imparts another gem when Bhemi and Nia visit him, after what appears to be an arduous uphill trek: 'Racing is no way to conquer mountain tops,' he notes. A still from 'Second Chances.' To Johnson's credit – Nia is equally believable as wasted youth, but also as something more. After a stomach ache reveals that her initial abortion attempt wasn't successful, the doctor asks her questions about a possible sexual assault being the cause for the pregnancy. Johnson's face shrinks, her voice quivers as she confesses – ' Meri marzi se hua tha (it happened consensually).' She tries to numb herself with alcohol and cannabis at first, but discovers peace the more she immerses herself into the lives of Bhemi and Sunny. The eight-year-old boy lost his mother during childbirth. In the midst of all his naughtiness, he doesn't forget to kiss his mother's portrait hung in their home. Looking after Nia following her abortion, Bhemi concedes her own secret. The two women both make mental notes of each other's kindness and discretion. A still from 'Second Chances.' A chance visit by a childhood friend reveals that Nia is one of those bratty drifters, responsible for a couple of failed ventures – vegan organic nighties, and vague tea concoctions – which she says were her ideas, but things she was pushed into. We are taken through a journey at the end of which Nia discovers what she wants and is unafraid to communicate it. With its glacial pacing and its silent, observational style, Subhadra Mahajan's film is a modest and assured film of a reawakening. In this day and age, where films tend to boast of a scope of cinematic universes, giant problems, global disarray, Second Chance is a relatively contained effort. While an individual's coming-of-age through trauma and betrayal might seem like a minor undertaking, it's still undoubtedly a well-made film. By the end, Nia is less scared. 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