Features
Steeped in realism, rich in poignant themes and metaphors
By Sajitha Prematunge
Asexual relationships are getting considerable limelight in the Sri Lankan cinema, what with Gehan Cooray’s The Billionaire and the recently released film, Ayu portraying such relationships, albeit in the vantage of different sexual orientation. Ayu was screened to a limited audience in celebration of the 74th anniversary of Sri Lankan cinema at Savoy Cinema, Wellawatta, on January 22. It is the maiden movie production of General (retired) Daya Rathnayake and the second film directed by Chathra Weeraman after Aloko Udapadi.
Presented by Weeraman Brothers, based on a story by Saman Weeraman, Ayu stars Sandra Mack, Jagath Manuwarna, Malani Fonseka, Ashan Dias, Kenara Wiratunga, Samanalee Fonseka, Sampath Jayaweera, Priyantha Sirikumara, Thumindu Dodantenna, Nalin Lusena, Udara Abeysundara, Kasuni Kavindi Fernando, Akalanka Prabashwara, Dinushika Senevirathne, Thiwanka Ranasinghe, Prasanna Dekumpitiya and Dasun Pathirana in a guest appearance. The crew includes cinematographer Kalinga Deshapriya, Chamara Selara as Assistant Director, Bimal Dushmantha in production designing, Saman Alvitigala in film editing, Milinda Tennakone in music, Harsha Manjula and Haroon Shaideen in makeup department, Sasika Marasinghe in sound department, Dinindu Jagoda and Lahiru Madhushanka in editorial department, Kumara Karawdeniya in costume designing, Shehan Obeysekara in production photography, Iresh Karunarathne, Primal Ranasinghe and Sashika Ganegodage in Production Management and Anuradha Weeraman as the Associate Producer.
The psychoanalytical film wastes no time documenting stressful therapy sessions or treatment. It is a journey towards the healing of the mind. Nishmi, a female pediatrician, didn’t only lose her baby in the almost fatal car accident that required the blood transfusion that sealed her fate, she’s maimed for life, with no hope of ever having a family of her own. Ravi, her husband’s elated revelation, “It’s negative,” comes as a surprise not to only Nish, but also the audience who was thus far convinced that the sole cause of her predicament was Ravi’s promiscuity.
Much is insinuated and less said in the film. Hardly anywhere is the acronym AIDS mentioned and only in one instance is HIV mentioned. This in itself is symbolic of the stigma HIV AIDS entails. We are given a first hand account of the kind of stigmatization AIDS patients undergo when Nishmi’s coworkers shun her as if they could contract the disease by brushing against her. A mother pulls her child away from Nish with an uneasy smile, while nurses and attendants avoid her. The stigma is so ingrained that Nish cannot expect to be accepted by her family. For example, Nish’s mother, played by Malini Fonseka, profusely washes her hands after dressing Nish’s wound. This is the last straw for Nish, who contemplates suicide.
There is no doubt that excellent casting choices contributed to the success of the film. The anguish of a mother in Fonseka’s words “I am your mother, I am your mother…” uttered to assuage her HIV positive daughter after she slighted by washing her hands, does not fail to evoke empathy in the audience. The film also marks screen queen Malini Fonseka’s 150th performance in an acting career spanning four decades.
Weeraman has commendably captured the anguish of the characters. Specially noteworthy is the performance by Sandra Mack as Nishmi, whether it is to her own credit or Weeraman’s ability to get a novitiate to strike the right emotional chords is irrelevant, because the end product is realistic. The fresh face of Mack helps to heighten the realism. We have never previously seen her acting and this makes it that much easier to identify with her role. Although her dialogue seems a bit contrived at the onset, which could be attributed to a shortcoming in dubbing, she grows on you.
Manuwarna’s ruggedness contrasts sharply with the seeming fragility of Mack’s Nishmi and the repelling magnate-like chemistry between the lead actors adds a novel flavour to the film. Make no mistake, it’s not your typical rich woman falls for poor guy kind of soppy. The film is abound with underlying deep socio-political and economic themes presented in the dichotomy of the upper middle class represented by Nishi and lower class by beach boy Sachin. It is certainly a thought-provoking movie peppered with allusions to Buddhist teachings, from the metaphoric boat that is life, to allusions of rituals such Bodhi Pooja conducted in hopes of being impregnated. Though Nishmi contemplated suicide earlier in the film, at the end, she just wants to row the boat. True to the Buddhist doctrine Nishmi comes to realise that we are but mere cogs in the samsaric machinery and that there is no other way out but to ‘row your boat’.
Inspired by true events, from plot, dialogue, acting to cinematography, Ayu religiously sticks to realism. The fight scenes are commendably choreographed with excellent cinematography helping to enhance realism. Even the songs are well placed, sans the melodrama, typical of Sinhala films.
However the tempo of the 116 minute film is somewhat slow, unnecessarily stretched to create the movie-length feature. The audience does not know where in time a certain scene is set. It is somewhat akin to memento or arrival, in that fragmented scenes are scattered throughout the film going back and forth in time. For example, images of passing lights from the vantage of a trolley being pushed through a hospital corridor, at the beginning of the movie, foreshadows a catastrophe waiting to strike. Although the trope makes it difficult to establish a footing, it adds to the arthouse flavour of the film. Things eventually fall into place when the film comes full circle, reconciling the past and present.
The genre, and by extension the target audience of the movie is ill-defined. Whether it a commercial or art house movie would depend on audience interpretation. The character of ‘Ayu’ is a case in point. Does the kid really exist? After all nothing is revealed about her. Her grandmother is MIA, the audience is in the dark about where she lives and when she is uprooted from her life in the village, whisked away by two strangers no one bats an eyelid. Uncannily similar to the character of child psychologist Malcolm Crowe in ‘Sixth Sense’, who turns out to be a ghost oblivious to his own ghostly existence, Ayu, who’s name literally means ‘life’, has little interaction with the characters other than Nishmi and Sachin, who are both, ironically dying. This life/death juxtaposition forms the crux of the film. Ayu may very well be a figment of one’s imagination, a metaphor for ‘life’. Is she a mere symbol for life or ‘ayu’ in Sinhala? If so, what better symbol for life than a child. If not, then the script is fatally flawed, in that it failed to develop an essential character. It is unrealistic that as a doctor Nish would have no qualms about exposing the child to a life threatening illness.
All things considered, Ayu is welcome respite from the mundane Sinhala movie that only offers unrealistic love stories that involve a lot of running around bushes, obviously phony fight scenes and ill-timed sorry excuses for songs. It is to be released in theatres soon and is not to me missed.

Features
The challenge of keeping value-based politics alive
The current outbreak of anti-immigrant protests in Durban, South Africa is bound to have taken many a subscriber to value-based politics or political idealism quite by surprise. After all, this is evidence that despite the historic accomplishments of nation-builders of the stature of the late President Nelson Mandela it cannot be taken for granted that identity politics, including racism in its worst forms, is no more in South Africa.
At the time of this writing details are scarce on the substantive root causes of the protests but it could very well be that economic grievances, particularly on the part of the majority community in South Africa, are contributing considerably to the disaffection. Shrinking employment and material prospects are likely to figure majorly among the factors igniting the unrest.
Fortunately, the local authorities in Durban are losing no time in calling for peaceful co-existence among the relevant communities and are pointing to the vital importance of stepping-up national integration processes. Apparently, immigrants in sizable numbers from neighbouring countries are present in Durban. However, international TV footage of the protests quoted some local authorities as saying that the majority of the immigrants in some centres that housed them were not illegal migrants and had the documents that entitle them to be in Durban.
In the Durban protests the world has fresh proof of the socially divisive consequences of the gathering globe-wide economic disaffection, touched off particularly by the continuing crisis in West Asia. Going ahead, the world would need to brace for increasing identity-based unrest of the kind it is just witnessing in South Africa.
Considering that the material lot of ordinary people everywhere could only aggravate progressively, with the US and Iran showing no signs of negotiating an end to their confrontation any time soon, it will be left to the more democratic and progressive sections of the world community to initiate positive measures collectively to bring a measure of relief to the discontented.
The swiftness with which such relief will be provided would depend crucially on the importance those sections taking up these undertakings attach to value-based politics as opposed to Realpolitik of power politics.
Going by these yardsticks, Italy could be considered to be moving in the right direction. Recently Italy came to the fore in initiating the collective named, ‘Rome Coalition for Food Security and Access to Fertilizer’, which has as one of its aims the swift provision of fertilizer to economically weak African countries.
In a recent statement Italian Minister of Foreign Affairs and International Cooperation, Antonio Tajani, said that a principal aim of the project was to ensure that the farmers of Africa gained easy access to fertilizer, considering that food security is a growing concern among some of Africa’s economically vulnerable countries.
The statement went on to mention that some 30 countries hailing from the Mediterranean region, the Middle East, the Balkans as well as the FAO had been invited to join the coalition. The venture is far-seeing in that food security is main among the reasons for social discontent which in turn could degenerate into endemic political turmoil and bloodshed. Separatist violence and geographical fragmentation of countries wouldn’t be too far behind these developments, as Africa itself has often proved.
It is hoped that more G7 countries would take the cue from Italy and do what they could to ease the hardships of economically distressed countries, particularly of the global South. In these efforts they would need to break rank with the US, which is today brutally indifferent to the consequences of its policy of making ‘America First’, come what may.
Going by current developments, the Trump administration seems to be blithely oblivious to the wider, deleterious effects of its policy course in West Asia. Besides rendering Iran militarily and otherwise impotent nothing else seems to matter to Washington, as regards West Asia. This is policy short-sightedness of an extreme kind. After all, right now West Asia could be said to be sitting on the proverbial powder keg.
On the other hand, Iran is not giving the world the impression that it is doing anything constructive to get out of the policy straitjacket that it wove for itself decades ago. Rather than enter into a policy of ‘live and let live’ in relation to Israel in particular and initiate a process of reconciliation with the latter, it has chosen to operate within policy parameters that continue to damn Israel. This has put Israel always on the ‘defensive’ so to speak and prevented the opening up of space for meaningful dialogue.
That said, Israel is obliged to explore the possibilities of entering into a negotiatory process with the Arab-Islamic world that could lead to a de-escalation of tensions and bloodshed. It cannot continue to look at its neighbours through lenses that distort them as archetypal enemies who should be ‘wiped off completely from the face of the earth.’
In other words, the need is urgent for Realpolitik to give way to value-based politicks. Italy is beginning to prove that the latter approach could be pursued with some success. May be the EU and the UK could throw their weight behind these initiatives as well and establish that international politics could be refashioned on the basis of humane, civilized norms. The UN would need to be fully supportive of these moves and prove an organizational nucleus of the operations that follow.
In fact the time is ripe for people of conscience to collectively stand up on the side of peace and say ‘No’ to war and violence. Organizations such as the ICRC, the WHO and Medicines Sans Frontiers have already taken up this call. Referring to the widespread destruction of health facilities and their dehumanizing results these organizations have said, among other things, that ‘This is not a failure of the law. It is a failure of political will.’
True, ‘failure of political will’ among those powers that matter accounts for the runaway, uncontrollable nature of war and destruction in contemporary times, but more fundamentally it is a failure of the human conscience. It could very well be that the phenomenal levels to which violence and war have been unleashed today have had the effect of deadening consciences. This is a matter for urgent study and wide discussion.
Features
Vesak celebrations … with Cuteefly
I would describe Indunil Kaushalya Dissanayaka as innovative and creative, and she operates under the name of Cuteefly.
Indunil always comes up with something novel to celebrate special occasions, and she does it with candles … and that’s her profession.
She was in the spotlight when she created a happening scene, with candles, for Christmas, Sinhala and Tamil New Year, and Valentine’s Day.
As lanterns light up Sri Lanka for Vesak, the Colombo-based candle maker is quietly turning wax and wick into little pieces of the festival.

Candles reflecting Vesak themes
Her candles reflect Vesak themes – light, peace, remembrance, giving, etc., to enable you to fill your Vesak celebration with devotion and beauty.
Among her Vesak creations is a lotus-shaped soy candle, scented with sandalwood, lavender, etc., meant to burn during this Vesak Poya Day.

Indunil Kaushalya Dissanayaka: Customers
praise her for her creativity
These handcrafted Vesak candles are perfect for offering at the temple, she says.
What makes her creations so novel is that they come in different shapes, scents, themes, and all are handmade.
What’s more, her customers have heaped praise on her for her creativity.
According to Indunil, her creations are perfect as a thoughtful gift … to bring beauty, unity, and light into every moment.
Says Indunil: “Our beautifully handcrafted Unity candles are designed with premium detail and love, making them perfect for celebrations, gifts, and meaningful occasions.”
Cuteefly, says Indunil, is available online.
Readers could contact Indunil on 0778506066 for more details.
He Facebook Page is: Cuteefly.

Handmade with love
Features
Dark Spots …
Yes, dark spots do crop up on the skin, especially with sun exposure and, of course, as the skin ages.
However, these tips should be of immense benefit to those who are faced with dark spots.
* Lemon and Honey Glow Mask:
You will need 01 teaspoon lemon juice and 01 teaspoon honey.
Mix the lemon juice and honey well and then apply this mixture, only on the dark spots.
Leave for 10–15 minutes and then rinse with cool water.
Benefits:
Lemon helps brighten pigmentation.
Honey moisturises and heals skin.
Gives a natural glow.
* Aloe Vera Gel Treatment:
All you need is fresh aloe vera gel.
Apply the gel apply on dark spots, before going to bed.
Leave overnight and wash in the morning.
Benefits:
Reduces acne marks and pigmentation.
Soothes irritated skin.
Helps skin repair naturally.
* Turmeric and Yoghurt Paste:
You will need 01 teaspoon yoghurt and a pinch of turmeric
Mix the yoghurt and turmeric into a smooth paste and apply on affected areas.
Leave for 15 minutes and then wash gently with lukewarm water.
Benefits:
Turmeric brightens skin naturally.
Yoghurt removes dead skin cells.
Helps fade dark spots gradually.
Use these packs 02-03 times a week as results are generally seen over time.
You can also try this out: Mix a ripe papaya into a smooth paste and apply to the face, or directly on to the dark spots. Leave for 15-20 minutes and then wash with lukewarm water.
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