[Part of Curator’s Corner, a section dedicated to showcasing work of emerging and marginal filmmakers. See here for details.]
“What if the Kardashians were born in a rural Rajasthani family and lived in Baroda on a budget?” So goes the logline for Dhruv Solanki’s beguiling debut feature It’s All in Your Head (2023), now available for rent on Gudsho in India and on NoBudge in the US.
A family movie, it is, but perhaps unlike any other. At the centre of this carefree comedy are two sets of real-life siblings from the Rajpurohit clan: freelance photographer Jyotsana, the largely absent Deepshikha and aspiring model Bonita who are cousins to office worker Bhagyashree, model Manshree and wannabe dancer Bhuvnesh. They live in two different flats in suburban Baroda, Gujarat, but they seem more at home on Instagram, where they run a thrift store. The film, which opens with an Insta live session, will follow the six characters over the course of a day, charting their individual hopes and frustrations in both the professional and domestic spheres: applications, rejections, flirtations, confrontations, breakups and reconciliation, the whole deal. Any two of the six siblings would periodically appear together, but the whole gang is never to be seen under a single roof.
A self-taught filmmaker, Solanki grew up in Ghaziabad, Uttar Pradesh, and trained as an engineer before teaching chemistry. When he moved to Baroda, he was working on a script about young male hopefuls, but that changed when he came in contact with the Rajpurohits through a common friend. As someone with little interest in social media, Solanki found the sisters’ lives as far removed from his own as possible. “But, ultimately, I realized we were the same,” he remarks, pointing to the common struggles with money and family approval that he was also experiencing at the time.
Some of the names involved in the film aren’t new to this blog. Bonita Rajpurohit is one of the actors in Dibakar Banerjee’s Love Sex aur Dhokha 2 (2024). Dhruv Solanki and Jyotsana Rajpurohit play the leads in Petals in the Wind (2024) by Abdul Aziz, who is credited for the subtitles in It’s All in Your Head. Solanki’s film bears certain similarities to Aziz’s work. Shot on a smart phone with non-actors in real locations and sync sound, it weaves a loose fiction over a bedrock of documentary details, stripped off the kind of stylization we see in even the most realist of mainstream cinema.
But where Aziz chooses a hyper-naturalist mode predicated on uninterrupted chunks of real-time (in)action, Solanki’s film takes the opposite route in terms of technique and tone. Avoiding long takes or complex camera movements, it instead progresses in a series of static or nearly static shots. Sequences sometimes unfold in master shots, but are generally broken down into close ups and mid-shots with odd eyelines. The most pronounced element is the music, composed of an assortment of genres — Hong Sang-soo-esque classical pieces, jazz, Latino, soft rock numbers — at times suggesting hidden emotional undercurrents, but mostly lending a frivolous, sitcom-like texture to the film.
All this nudges the film into Mumblecore territory that seems to be experiencing a new surge in Indian independent filmmaking of late: low-budget productions about the sexual hangups and romantic foibles of young urban professionals. It’s All in Your Head, however, doesn’t have the psychological penetration and fine-grained performances that characterized Mumblecore cinema. Notwithstanding the emotionally resonant final stretch, the actors themselves seem to barely believe in the story they are participating in.
What it lacks in acting prowess, It’s All in Your Head makes up for in the exciting discrepancy it sets up between reality and fiction. Solanki’s film takes a particular familial reality, wraps it in a loose swathe of fiction only in order to get back to a deeper reality. Like Aziz’s films, it presents the lifeworld of a certain class of suburban Indian youth — one firmly embedded in an image economy — with an endearing candour, featuring dialogue, locations and body types that we seldom see on screen. “What I felt responsible towards was the energy and essence of each person,” says Solanki, adding that he wanted to capture the way each sibling negotiated different environments. To this end, he shot dozens of exercises, following the sisters in their routine, making them play out pre-written roles or filming them in real-life situations and gatherings.
Solanki’s film stands out in how it thrusts viewers into a microcosm with its own laws, not offering outsider perspectives from which to judge its inhabitants. It challenges us to place these characters socially — there’s little sense here of the normative world of parents or neighbours — and derives much of its appeal out of the incongruence between their aspirational lifestyles and the mundane reality of the world around them: Bonita lounging in a nightgown in a cramped flat, the punk-like Jyotsana walking up the stairs of a certain Sai Vihar apartments, Manshree and her sister eating by a roadside chat joint, or any of them making rotis in the kitchen. Bonita’s transness is taken for granted, as is the social bubble they all seem to move around in. Solanki confesses that he isn’t as interested in the conflict between the characters and their world as in the one they have with and within themselves. It’s all in their head.
Marching to a private beat, the siblings seem to have carved out their own Malibu in mofussil Gujarat. Are we in a utopia, a Baroda that isn’t, but could be? Is the film defiance or wish-fulfilment? It’s All in Your Head offers an unusual, idiosyncratic vision of small-town India: not rotting in backward biases, but scrappy, hungry and punching above its weight.
Bio
Dhruv Solanki is a writer-director based in Vadodara, Gujarat. He has co-written and directed Blah Blah Blah, an independent comedy currently in post-production. He developed The Rebels of Shakambhari, a period action feature, as a fellow of the Writers Ink Screenwriting Lab. It was an official selection at the Cinephilia Film & TV development workroom and was also invited to participate in Rewrite, a screenwriting residency lab. It’s All in Your Head is his debut feature as a writer and director.
Contact
dhruvsolanki.1719@gmail.com | Instagram | Facebook | YouTube
Filmography
- Hashim Khan (2018), 26 min., digital
- Parichay (2019), 2 min., digital
- Love (2021), 1 min., smartphone
- Scenes from a Room (2021), 5 min., smartphone
- Drink (2022), 10 min., smartphone
- My India (2022), 3 min., smartphone
- It’s All in Your Head (2023), 84 min., smartphone
- Blah! Blah! Blah! (work-in-progress, co-dir. Bonita Rajpurohit), smartphone
- Writer, The Rebels of Shakambhari (unproduced)
- Writer, Home (unproduced)
- Co-writer, Qualia (dir. Devankur Sinha), 2021
- Actor, What a Difference a Day Made (dir. Devankur Sinha), 2022
- Actor/co-writer, Pankhudiyaan (Petals in the Wind, dir: Abdul Aziz), 2024
- Producer, If You Know You Know (dir. Bonita Rajpurohit), 2024
Showcase
Trailer for It’s All in Your Head (2023)
Love (2021)
Scenes from a Room (2021)