Ahasin Wetei

This film premiered in Australia at The Sydney Film Festival. It played at midday, a bit of an odd time, and there was about fifty people in the audience. I was on my own, which is the best way to see some stuff. I was able to sit right at the front as well which I love because it is like being in the screen. The combination of the slow panning shots and an eclectic sound track was very hypnotic like a powerful drug and really quite transporting. The film festival theme this year 2010 is Going on a Journey. This was a repeated journey over the same ground, events were reiterated in the future and the past. Not much dialogue, well just enough to keep it mysterious. There were some surprising elements that seemed there to shock but maybe that is just my western-worldness showing itself. It was remarkable how sparse the cast and props were although a lot of action was illustrated by the extraordinary soundtrack. Rebirth is a popular theme in films at the moment. Lovely to see the Sri Lankan version from an idiosyncratic writer/director. Coming back out of the cinema onto the hopelessly touristic Circular Quay was very disorienting after the journey through the grass and lakes.

I attended the North American Premiere of "Between Two Worlds" at the 2009 Toronto International Film Festival. I love foreign films and Sri Lanka is about as exotic as it gets, so I certainly wasn't expecting a popcorn movie. Still, this one is a real puzzle which I never quite solved. The film is more an examination of the consequences of war than anything else -- in this case the bloody decades-long civil war in Sri Lanka. Several story lines that don't necessarily intersect give the viewer plenty to ponder. But the strength of "Between Two Worlds" is its lush cinematography. The stark contrast between the gorgeous landscape and the brutality being inflicted by man against man is disturbing.

Garnering top kudos from "Variety" and "Screen Daily" for its directing, cinematography and music, "Between Two Worlds" (Ahasin Wetei) is this years most enigmatic vision from one of the worlds top new auteur's. Vimuthki Jayasundara is truly an artiste, his film language is highly complex and dramatically potent, a combination seen only in the very best of directors. The film contains multiple levels of cerebral engagement and hidden meanings. A thorough study of Sri Lankan history/mythology may not be enough to crack Jayasundara's many tongue-in-cheek references to modern day politics of Sri Lanka.

What is crystal clear, is Jayasundara's subtly veiled, almost apocalyptic vision of what could befall his country, if her people don't wake up and start asking questions. The Venice premier of the film was a breathtaking experience for most present.