'Shape of Momo' movie review: Reading between the pleats

In a land where the ‘round roti’ is associated with patriarchal conditioning, ‘Shape of Momo’ came as a pleasant and relatable surprise. It is not always a roti that measures a woman’s worth in the kitchen. In Sikkim, it is about how well a woman can shape the pleats of the momos. The making of a round Indian flatbread is synonymous with the making of a perfectly pleated dumpling. Patriarchy, at the end of the day, is adept at finding a way to confine women within the walls of a kitchen, turning cooking skills into something that must ultimately please the men at the dinner table. 

The film, loosely based on director Tribeny Rai’s life, follows Bishnu, a young woman who returns to her village in Sikkim after quitting her job in Delhi. Coming back home is not always a happy affair. For Bishnu, it means dealing with the societal norms she had once left behind all over again. She is constantly reminded that she is “not in Delhi anymore”. At the same time, Tribeny does not treat Bishnu’s life in Delhi as entirely liberating either, but merely as a space where she briefly experienced individuality — hinting that no place is truly liberating for women.

Films set in the mountains often tend to create overly aesthetic images. But in Tribeny's film, the camera prioritises Bishnu’s emotional condition over picturesque beauty, creating a quiet, melancholic mood. Bishnu lying on a rock beside the river, for instance, is not framed just for the landscape, but to reflect her inner state of mind. The music adds to the film’s immersive experience. One of the interesting metaphors Tribeny explores is a cat named Azadi that suddenly disappears one day. 

‘Shape of Momo’ is best experienced on the big screen.

(The film is currently running in theatres)