Features
Neruda returns to Ceylon after nine decades with the film “Alborada”
by Eda Cleary Panguipulli, Chile, January 2022
Pablo Neruda, considered by Gabriel García Márquez as “the greatest poet of the 20th century in all languages”, has returned to Ceylon (now Sri Lanka) in an extraordinary film entitled “Alborada”. It was written and directed by Asoka Handagama, one of Sri Lanka’s foremost filmmakers today. Asoka Handagama has a long and successful career as a filmmaker, painter and playwright.
“Alborada” was invited to participate in the 34th Tokyo International Film Festival in October 2021. The film has not yet been released in cinemas, but it is already giving a lot to talk about. The trailer can be seen on Youtube. The theme of the festival was “Crossing Borders”, which sought to showcase cross-cultural stories, and the story of Pablo Neruda in ancient Ceylon is certainly one of them.
The film is set in former colonial Ceylon during the years 1929-1930, a period in which 25-year-old Pablo Neruda, already the author of the famous book “20 Love Poems and a Song of Despair”, took over as Chile’s honorary consul on the island, after having carried out similar duties in Burma.
The script is a fiction that is structured from Neruda’s own memories in “I confess that I have lived” (1974) in the chapter “The Luminous Solitude”, where he describes in seven lines about how one day he sexually forces himself on a Tamil girl, who came from the lowest caste of the Sakkili, who were considered “untouchables”:
“One morning, I decided to go all the way, I got a strong grip on her wrist and stared into her eyes. There was no language I could talk with her. Unsmiling she let herself be led away and was soon naked in my bed. Her waist, so very slim, her full hips, brimming cups of her breasts, made like one of thousand-year-old sculptures from the South India. It was the coming together of a man and a statue. She kept her eyes wide open all the while, completely unresponsive . She was right to despise me. The experience was never repeated”.
Asoka Handagama, an admirer of Neruda’s work, was stunned to read this paragraph of the memoir and for more than ten years entertained the idea of making a film about the incident. But it was not until 2021, in the midst of the COVID 19 pandemic, that this dream would be realized with the filming of “Alborada”. The title was inspired by the name Neruda had given to his Ceylonese friend Lionel Wendt’s house built in the elegant Cinnamon Gardens neighborhood of Colombo. Wendt was a musician, photographer, filmmaker and promoter of the arts in his country.
The plot of the film is based on the following sequence: Neruda arrives without luggage in Ceylon because he had just come out of a supposedly “terrorist” love affair with his Burmese lover Josie Bliss, to whom he had not said goodbye. When he made his social debut in Ceylon, he met Patsy, a French girl, with whom he had free sex with no commitments. Just when he thought he was safe from Josie, she suddenly appears at his door. Neruda prevents her from entering, forcing her to spend the nights in the street, causing a public scandal. He hides and orders his servant Rathnaigh, not to let her in. Meanwhile Neruda continues intimate encounters with Patsy in secret from his Burmese ex-lover. Josie understands her disadvantageous situation and decides to leave him and go home for ever. Neruda is left devastated and now turns his attention to the Sakkili girl, whose job it was to empty and clean his buckets of excrement from the toilet every morning.
Neruda fantasizes poetically about this young woman, attributing to her goddess-like qualities because of her immense resemblance to a sculpture of the goddess Parvathi that he kept in his living room. His Tamil servant Rhatnaigh, a firm believer in the caste system, fears for Neruda and himself because he feels that any contact with this “untouchable” caste would necessarily “dirty” them. Neruda is alien to that cultural tradition. For him, the relationship between a man and a woman does not pass through caste. That is why he sees no obstacle to behave like a conquering “macho” when he feels like possessing a woman. The Sakkili girl, accustomed to her inferior position, does not accept Neruda’s attempts to approach her. But he insists and forces her in such a way that she is left with no alternative but to endure a sexual assault for Neruda’s carnal satisfaction alone.
This picture could have given rise to a number of different scenarios, starting with a mere voyeuristic version of what happened, a trivialization of the event, or perhaps simply its denial and/or justification. But that is obviously not Asoka Handagama’s style. Judging by the surprising interweaving of the subsequent scenes, and their unexpected ending, where a real explosion of pain, rage, despair and desire for salvation of each of the characters emerges, Handagama triggers a process of reflection that leads to a frontal humanizing approach. At no point does “Alborada” force the spectator to take sides with the good guys against the bad guys as if it were a battle, where passion could not give way to reason and understanding of what is happening.
Neruda never managed to forget the contempt the Sakkili girl felt for him. His ego was so wounded that shortly before his death in his memoirs he decided to make a crude public confession about the incident and thereby unveil a fact that is generally hidden.
Handagama’s great contribution is to have brought this story told in just seven lines to the screen with overwhelming complexity without falling into the temptation to light judgment.
The formidable outcome of the plot leaves many questions open, not only about the story that took place in 1929, but also about the relevance of these same conflicts in the present. Neruda is therefore only part of the chess game of the story, because Asoka Handagama, a connoisseur of his culture, has no qualms about revealing the world of brutal prejudices and superstitions that hung like a sword of Damocles over the “untouchable” Tamils. Especially on women, within their own caste they were the most discriminated against, and then doubly so by the society around them.
The occasion for the film could not have been more controversial. Almost five decades had passed since the publication of Neruda’s memoirs, which had been a resounding success. But time changes, social movements change, and so do readers’ perceptions. A few years ago, global feminism branded the story told by Neruda about the Sakkili girl as a big patriarchal lie. Overnight, social media was filled with angry statements against Neruda and the tone was to “cancel” Neruda. Now the most widely read poet of the 20th century was nothing more than a sexual predator. On the other front, Neruda’s unconditional followers went on the offensive and their strategy essentially focused on downplaying the fact. Both positions have contributed to the trivialization and caricaturing of the intricate origins of macho violence and toxicity, where the world is seen in black and white, divided between the good and the bad, the superior and the inferior. But life itself is more than that, and it is necessary to delve deeper into this history. In this sense, “Alborada” succeeds.
Confronted with the radical fundamentalist positions on this incident, Asoka Handagama approaches with creative audacity the dramatic subject of sexual violence, the caste dilemma and the racism underlying “machismo”.
Neruda’s confused life situation in Wellawatte is masterfully illustrated. The poet appears as a labyrinthine, multifaceted and contradictory personality. He is both victim and victimizer. He hides from Josie, is simultaneously cowardly, playful and adventurous, loses patience, smokes opium, takes his chances with Patsy, but does not hesitate to protect a woman beaten by her fisherman husband in Wellawatte. Crucial to the story, however, is that this confusion is not enough to understand the violent incident with the Sakkili girl. Asoka Handagama rudely but wisely lays bare the crushing destructive force of the patriarchal view of existence. From this incident, everyone is hurt, and the most damaged, of course, is the Sakkili girl.
The director of “Alborada” manages to bring the mature Neruda down from his poet-god pedestal without denying his immense talent and poetic genius. He humanizes him by pointing out his impotence to free himself from the macho ballast of male domination and shows him in his own masculine labyrinth.
This film is irreplaceable when it comes to an unbiased discussion of the real poisoning that patriarchal ideology creates in human beings in every age, in every occasion and in every culture. From a specific story, it universalizes the discussion on the difficult approach to the gender question, which is currently essentially caught in the grip of fundamentalist feminist positions that oscillate between the “culture of cancellation” and the traditional positions of the culture of denial and silencing of patriarchal violence.
Finally, “Alborada” is also a moving film with an excellent cast. The period setting gracefully opens the door to the past and makes us empathize with its protagonists. The handling of the camera to capture the characters’ states of mind with precision is outstanding. The colors, the scenes, the lighting and the music will be a real aesthetic delight for the viewers.
Eda Cleary is a sociologist with a PhD in political science from Germany. She lived for six years in Myanmar (the former Burma) between 2015-2021. She is the author of two essays on Neruda published online in the literary platform Letralia, Le Monde Diplomatique in Spanish and in the Chilean online newspaper El Mostrador. The first appeared in 2015: “Josie Bliss, Pablo Neruda’s Burmese lover 88 years later” and the second in 2018: “Ceylon in Neruda’s heart. Deconstructing Neruda’s life and work in Ceylon”. For this work, the magazine “Chile somos todos” of the Chilean Ministry of Foreign Affairs declared her a “world-class Chilean” in 2016.
Editor’s note:
The author sent us this review after the publication of a feature on Handagama’s new film in this paper attracted her interest. She felt it deserved attention by the Spanish speaking world, did a review for Le Monde Diplomatique and sent us this translation of it in English.
Features
Challenges faced by the media in South Asia in fostering regionalism
SAARC or the South Asian Association for Regional Cooperation has been declared ‘dead’ by some sections in South Asia and the idea seems to be catching on. Over the years the evidence seems to have been building that this is so, but a matter that requires thorough probing is whether the media in South Asia, given the vital part it could play in fostering regional amity, has had a role too in bringing about SAARC’s apparent demise.
That South Asian governments have had a hand in the ‘SAARC debacle’ is plain to see. For example, it is beyond doubt that the India-Pakistan rivalry has invariably got in the way, particularly over the past 15 years or thereabouts, of the Indian and Pakistani governments sitting at the negotiating table and in a spirit of reconciliation resolving the vexatious issues growing out of the SAARC exercise. The inaction had a paralyzing effect on the organization.
Unfortunately the rest of South Asian governments too have not seen it to be in the collective interest of the region to explore ways of jump-starting the SAARC process and sustaining it. That is, a lack of statesmanship on the part of the SAARC Eight is clearly in evidence. Narrow national interests have been allowed to hijack and derail the cooperative process that ought to be at the heart of the SAARC initiative.
However, a dimension that has hitherto gone comparatively unaddressed is the largely negative role sections of the media in the SAARC region could play in debilitating regional cooperation and amity. We had some thought-provoking ‘takes’ on this question recently from Roman Gautam, the editor of ‘Himal Southasian’.
Gautam was delivering the third of talks on February 2nd in the RCSS Strategic Dialogue Series under the aegis of the Regional Centre for Strategic Studies, Colombo, at the latter’s conference hall. The forum was ably presided over by RCSS Executive Director and Ambassador (Retd.) Ravinatha Aryasinha who, among other things, ensured lively participation on the part of the attendees at the Q&A which followed the main presentation. The talk was titled, ‘Where does the media stand in connecting (or dividing) Southasia?’.
Gautam singled out those sections of the Indian media that are tamely subservient to Indian governments, including those that are professedly independent, for the glaring lack of, among other things, regionalism or collective amity within South Asia. These sections of the media, it was pointed out, pander easily to the narratives framed by the Indian centre on developments in the region and fall easy prey, as it were, to the nationalist forces that are supportive of the latter. Consequently, divisive forces within the region receive a boost which is hugely detrimental to regional cooperation.
Two cases in point, Gautam pointed out, were the recent political upheavals in Nepal and Bangladesh. In each of these cases stray opinions favorable to India voiced by a few participants in the relevant protests were clung on to by sections of the Indian media covering these trouble spots. In the case of Nepal, to consider one example, a young protester’s single comment to the effect that Nepal too needed a firm leader like Indian Prime Minister Narendra Modi was seized upon by the Indian media and fed to audiences at home in a sensational, exaggerated fashion. No effort was made by the Indian media to canvass more opinions on this matter or to extensively research the issue.
In the case of Bangladesh, widely held rumours that the Hindus in the country were being hunted and killed, pogrom fashion, and that the crisis was all about this was propagated by the relevant sections of the Indian media. This was a clear pandering to religious extremist sentiment in India. Once again, essentially hearsay stories were given prominence with hardly any effort at understanding what the crisis was really all about. There is no doubt that anti-Muslim sentiment in India would have been further fueled.
Gautam was of the view that, in the main, it is fear of victimization of the relevant sections of the media by the Indian centre and anxiety over financial reprisals and like punitive measures by the latter that prompted the media to frame their narratives in these terms. It is important to keep in mind these ‘structures’ within which the Indian media works, we were told. The issue in other words, is a question of the media completely subjugating themselves to the ruling powers.
Basically, the need for financial survival on the part of the Indian media, it was pointed out, prompted it to subscribe to the prejudices and partialities of the Indian centre. A failure to abide by the official line could spell financial ruin for the media.
A principal question that occurred to this columnist was whether the ‘Indian media’ referred to by Gautam referred to the totality of the Indian media or whether he had in mind some divisive, chauvinistic and narrow-based elements within it. If the latter is the case it would not be fair to generalize one’s comments to cover the entirety of the Indian media. Nevertheless, it is a matter for further research.
However, an overall point made by the speaker that as a result of the above referred to negative media practices South Asian regionalism has suffered badly needs to be taken. Certainly, as matters stand currently, there is a very real information gap about South Asian realities among South Asian publics and harmful media practices account considerably for such ignorance which gets in the way of South Asian cooperation and amity.
Moreover, divisive, chauvinistic media are widespread and active in South Asia. Sri Lanka has a fair share of this species of media and the latter are not doing the country any good, leave alone the region. All in all, the democratic spirit has gone well into decline all over the region.
The above is a huge problem that needs to be managed reflectively by democratic rulers and their allied publics in South Asia and the region’s more enlightened media could play a constructive role in taking up this challenge. The latter need to take the initiative to come together and deliberate on the questions at hand. To succeed in such efforts they do not need the backing of governments. What is of paramount importance is the vision and grit to go the extra mile.
Features
When the Wetland spoke after dusk
By Ifham Nizam
As the sun softened over Colombo and the city’s familiar noise began to loosen its grip, the Beddagana Wetland Park prepared for its quieter hour — the hour when wetlands speak in their own language.
World Wetlands Day was marked a little early this year, but time felt irrelevant at Beddagana. Nature lovers, students, scientists and seekers gathered not for a ceremony, but for listening. Partnering with Park authorities, Dilmah Conservation opened the wetland as a living classroom, inviting more than a 100 participants to step gently into an ecosystem that survives — and protects — a capital city.
Wetlands, it became clear, are not places of stillness. They are places of conversation.
Beyond the surface
In daylight, Beddagana appears serene — open water stitched with reeds, dragonflies hovering above green mirrors.
Yet beneath the surface lies an intricate architecture of life. Wetlands are not defined by water alone, but by relationships: fungi breaking down matter, insects pollinating and feeding, amphibians calling across seasons, birds nesting and mammals moving quietly between shadows.
Participants learned this not through lectures alone, but through touch, sound and careful observation. Simple water testing kits revealed the chemistry of urban survival. Camera traps hinted at lives lived mostly unseen.
Demonstrations of mist netting and cage trapping unfolded with care, revealing how science approaches nature not as an intruder, but as a listener.
Again and again, the lesson returned: nothing here exists in isolation.
Learning to listen
Perhaps the most profound discovery of the day was sound.
Wetlands speak constantly, but human ears are rarely tuned to their frequency. Researchers guided participants through the wetland’s soundscape — teaching them to recognise the rhythms of frogs, the punctuation of insects, the layered calls of birds settling for night.
Then came the inaudible made audible. Bat detectors translated ultrasonic echolocation into sound, turning invisible flight into pulses and clicks. Faces lit up with surprise. The air, once assumed empty, was suddenly full.
It was a moment of humility — proof that much of nature’s story unfolds beyond human perception.

Sethil on camera trapping
The city’s quiet protectors
Environmental researcher Narmadha Dangampola offered an image that lingered long after her words ended. Wetlands, she said, are like kidneys.
“They filter, cleanse and regulate,” she explained. “They protect the body of the city.”
Her analogy felt especially fitting at Beddagana, where concrete edges meet wild water.
She shared a rare confirmation: the Collared Scops Owl, unseen here for eight years, has returned — a fragile signal that when habitats are protected, life remembers the way back.
Small lives, large meanings
Professor Shaminda Fernando turned attention to creatures rarely celebrated. Small mammals — shy, fast, easily overlooked — are among the wetland’s most honest messengers.
Using Sherman traps, he demonstrated how scientists read these animals for clues: changes in numbers, movements, health.
In fragmented urban landscapes, small mammals speak early, he said. They warn before silence arrives.
Their presence, he reminded participants, is not incidental. It is evidence of balance.

Narmadha on water testing pH level
Wings in the dark
As twilight thickened, Dr. Tharaka Kusuminda introduced mist netting — fine, almost invisible nets used in bat research.
He spoke firmly about ethics and care, reminding all present that knowledge must never come at the cost of harm.
Bats, he said, are guardians of the night: pollinators, seed dispersers, controllers of insects. Misunderstood, often feared, yet indispensable.
“Handle them wrongly,” he cautioned, “and we lose more than data. We lose trust — between science and life.”
The missing voice
One of the evening’s quiet revelations came from Sanoj Wijayasekara, who spoke not of what is known, but of what is absent.
In other parts of the region — in India and beyond — researchers have recorded female frogs calling during reproduction. In Sri Lanka, no such call has yet been documented.
The silence, he suggested, may not be biological. It may be human.
“Perhaps we have not listened long enough,” he reflected.
The wetland, suddenly, felt like an unfinished manuscript — its pages alive with sound, waiting for patience rather than haste.
The overlooked brilliance of moths
Night drew moths into the light, and with them, a lesson from Nuwan Chathuranga. Moths, he said, are underestimated archivists of environmental change. Their diversity reveals air quality, plant health, climate shifts.
As wings brushed the darkness, it became clear that beauty often arrives quietly, without invitation.

Sanoj on female frogs
Coexisting with the wild
Ashan Thudugala spoke of coexistence — a word often used, rarely practiced. Living alongside wildlife, he said, begins with understanding, not fear.
From there, Sethil Muhandiram widened the lens, speaking of Sri Lanka’s apex predator. Leopards, identified by their unique rosette patterns, are studied not to dominate, but to understand.
Science, he showed, is an act of respect.
Even in a wetland without leopards, the message held: knowledge is how coexistence survives.
When night takes over
Then came the walk: As the city dimmed, Beddagana brightened. Fireflies stitched light into darkness. Frogs called across water. Fish moved beneath reflections. Insects swarmed gently, insistently. Camera traps blinked. Acoustic monitors listened patiently.
Those walking felt it — the sense that the wetland was no longer being observed, but revealed.
For many, it was the first time nature did not feel distant.

A global distinction, a local duty
Beddagana stands at the heart of a larger truth. Because of this wetland and the wider network around it, Colombo is the first capital city in the world recognised as a Ramsar Wetland City.
It is an honour that carries obligation. Urban wetlands are fragile. They disappear quietly. Their loss is often noticed only when floods arrive, water turns toxic, or silence settles where sound once lived.
Commitment in action
For Dilmah Conservation, this night was not symbolic.
Speaking on behalf of the organisation, Rishan Sampath said conservation must move beyond intention into experience.
“People protect what they understand,” he said. “And they understand what they experience.”
The Beddagana initiative, he noted, is part of a larger effort to place science, education and community at the centre of conservation.
Listening forward
As participants left — students from Colombo, Moratuwa and Sabaragamuwa universities, school environmental groups, citizens newly attentive — the wetland remained.
It filtered water. It cooled air. It held life.
World Wetlands Day passed quietly. But at Beddagana, something remained louder than celebration — a reminder that in the heart of the city, nature is still speaking.
The question is no longer whether wetlands matter.
It is whether we are finally listening.
Features
Cuteefly … for your Valentine
Valentine’s Day is all about spreading love and appreciation, and it is a mega scene on 14th February.
People usually shower their loved ones with gifts, flowers (especially roses), and sweet treats.
Couples often plan romantic dinners or getaways, while singles might treat themselves to self-care or hang out with friends.
It’s a day to express feelings, share love, and make memories, and that’s exactly what Indunil Kaushalya Dissanayaka, of Cuteefly fame, is working on.
She has come up with a novel way of making that special someone extra special on Valentine’s Day.

Indunil is known for her scented and beautifully turned out candles, under the brand name Cuteefly, and we highlighted her creativeness in The Island of 27th November, 2025.
She is now working enthusiastically on her Valentine’s Day candles and has already come up with various designs.
“What I’ve turned out I’m certain will give lots of happiness to the receiver,” said Indunil, with confidence.
In addition to her own designs, she says she can make beautiful candles, the way the customer wants it done and according to their budget, as well.
Customers can also add anything they want to the existing candles, created by Indunil, and make them into gift packs.
Another special feature of Cuteefly is that you can get them to deliver the gifts … and surprise that special someone on Valentine’s Day.
Indunil was originally doing the usual 9 to 5 job but found it kind of boring, and then decided to venture into a scene that caught her interest, and brought out her hidden talent … candle making
And her scented candles, under the brand ‘Cuteefly,’ are already scorching hot, not only locally, but abroad, as well, in countries like Canada, Dubai, Sweden and Japan.
“I give top priority to customer satisfaction and so I do my creative work with great care, without any shortcomings, to ensure that my customers have nothing to complain about.”
Indunil creates candles for any occasion – weddings, get-togethers, for mental concentration, to calm the mind, home decorations, as gifts, for various religious ceremonies, etc.
In addition to her candle business, Indunil is also a singer, teacher, fashion designer, and councellor but due to the heavy workload, connected with her candle business, she says she can hardly find any time to devote to her other talents.
Indunil could be contacted on 077 8506066, Facebook page – Cuteefly, Tiktok– Cuteefly_tik, and Instagram – Cuteeflyofficial.
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