‘And Sometimes, She Loved Me Too’ explores the melancholia of objects left behind by lovers after the demise of their relationship. A soundscape of memories breathes life to these belongings, giving us an insight into the bitter-sweet experiences shared by them. Having inhabited the same space as the couple, we find that a macro exploration of these ordinary objects, helps us thread together the slow degradation of their companionship.
The film chronicles the beauty and tragedy that is love. The ephemeral is revealed to us through the mundane. The narrative is a patchwork of intimate moments, which while personal are also universal. This allows the viewer to project their own memories & associations, creating a sort of palimpsest. The work is originally meant to be viewed with a walkthrough of actual objects from the film, supplemented with additional dialog in the form of a written card, while entering the screening room and again while exiting; continually shifting the viewers’ perception and proximity with the story being told. However, the film can be viewed independently as well.
The film has travelled to many festivals and art galleries in Germany, France, India, USA and Austria and continues to be shown in many different forms and curations. The work gets it’s inspiration from the filmmaker’s curatorial experience with the contemporary art exhibit ‘The Museum of Ordinary Objects’. Karan Talwar, director of the film, elaborates, ‘Objects for me are memory boxes. They can be deeply personal and profoundly universal. They are also symbols of association. A broken lock, a tangled piece of wire, a lone shoe… might have different meanings for each of us, but they all speak of human conditions. In their quiet, unassuming, unexpected way, ordinary objects speak of us and our times. They are not only observers but also a very integral part of the story of our lives, forever serving as guardians of the stories which have been lived through and with them.’.
The film has been designed in a personal yet universal way, trying to hinge a story but also leave open interpretation such that this could be any relationship. That’s the thing with ordinary objects, once you start looking, you cant but keep looking, observing and projecting your own stories on them. Karan is a film maker, curator and co-founder of Harkat Studios, an arts studio based in Mumbai and Berlin. He has spent the majority of career being an Associate Director in mainstream Hindi cinema, most notably with director Prakash Jha in films like Raajneeti, Satyagraha, Chakravyuh, Aarakshan and has directed many short documentary stories and experimental films as part of his work at Harkat. From curating exhibits like ‘The Museum of Ordinary Objects’ and ‘In the mood for Melancholia’, Karan is interested in material memory and experiential storytelling. With a multi-discliplinary background, he matches ideas with mediums and his work ranges from conceptual installations to filmmaking.
Website: www.harkat.in
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