‘The Shepherdess and the Seven Songs’ Review: A Feminist, Film-Noir Tinged Indian Folk Tale

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‘The Shepherdess and the Seven Songs’ Review: A Feminist, Film-Noir Tinged Indian Folk Tale
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  • 📰 Variety
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Folklore, feminism and film noir come together in Pushpendra Singh’s meticulously crafted fourth feature “The Shepherdess and the Seven Songs.” Set in the disputed Jammu and Kashmir region in North…

.” Set in the disputed Jammu and Kashmir region in Northwest India, this moody fable about an unhappy young bride plotting her escape from tradition and patriarchy is a gripping character study that stutters slightly in the latter stages before producing a magical finale that no-one will forget in a hurry. Singh’s beautifully shot film has traveled extensively on the festival circuit and picked up awards at Hong Kong and Jeonju since debuting at Berlin in 2020.

It’s clear from the outset that Laila is defined in masculine terms as being not much different from livestock and has no option but to marry Tanvir , a weak-willed nomadic herdsman. The only test he must pass to prove his worth and secure a bride is to lift a heavy rock in front of an all-male tribal council.

Divided into seven chapters with titles such as “Song of Marriage, “Song of Attraction” and “Song of Realization,” the story takes on the characteristics of film noir when Laila hatches a risky plan to repel the unwanted men in her life.

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