Arguably the most unique form of storytelling is movie-making. Capturing events, people, and ideas on film is magical. After all, its existence is remarkably short and has evolved rapidly since its introduction in the late 1800s. Nevertheless, every film carries some storytelling magic in it.
This idea carries Last Film Show, the fourth feature by Indian auteur Pan Nalin, throughout its runtime. Much like other odes to the cinema, the film’s love towards the medium is expressed through the magic of seeing moving images projected onto a screen. However, it is much more than that as it also demonstrates how vital film truly is in an ever-changing society.
I assume many other movie lovers like myself can relate deeply to the film’s core story. Nine-year-old Samay (Bhavin Rabari) attends a film screening that changes the way he interprets the world forever. He finds himself drawn by the projector’s light and how such an ever-present part of life can produce such images. Along the way, he befriends the theater’s projectionist Fazal (Bhavesh Shrimali) and shares his love for storytelling with his equally raucous group of friends.
From the film’s first frame after the production company logos roll, it is clear that Last Film Show is a love letter to the art of filmmaking. The film dedicates itself to pioneers from the Lumiere Brothers to Andrei Tarkovsky, and it wouldn’t be a stretch to say that they’d appreciate the recognition. In an era where movies are considered mass-produced content, going back to the medium’s roots is more crucial than ever.
Said roots are captured perfectly by Nalin and cinematographer Swapnil S. Sonawane. Last Film Show is a gorgeous film that crafts each shot with the care they deserve. Its use of color is also striking; besides, who hasn’t been fascinated by how a dark theater can be home to such colorfully bright movies? We have all had those moments where we lifted our hand into the light of the projector as Samay does at the beginning of the film.
As the film progresses, the balance between loving fantasy and harsh reality is apparent. Unfortunately, as much as Samay and his friends try to recapture the magic of the movies through recreating theater experiences with their resources, it is met with disdain and concern by their authority figures. Although infuriating to the audience, it is no surprise. After all, why put your time and energy into an industry only concerned with producing as much as possible?
Samay thinks differently as he watches Bollywood films from the projection room of his theater, Galaxy. He sees how magical the production and storytelling capabilities of movies are, even when some films he watches are more on the schlocky side. This is the core message that Last Film Show explains so effectively. The actual act of filmmaking is special and unique, with the medium itself being something we should not take for granted.
Last Film Show is a terrifically made ode to the art of filmmaking that should become required viewing for any film lover. From the organic performances to the cinematography that will put a smile on any film theorist’s face, it serves as a reminder of just how unique movies are. In a world where movies are labeled as content to be consumed by the masses, Nalin’s film is more important than ever.
