In April, Indian director G. Aravindan presented two recent films at PFA, Thampu (1978) and Kummatty (1979). It is a measure of the strength of the imagery in Aravindan's films that they are received with tremendous enthusiasm, though shown without English subtitles, accompanied instead by a live translation. Tonight's films, which will be presented in the same manner with synopses provided, contain a minimum of dialogue.

Kanchana Sita is Aravindan's second film, made in 1977. In it he interprets the last part of the “Ramayana.” The legendary Rama has returned from Lanka after retrieving his abducted wife, Sita. Rumors begin to spread questioning the fidelity of his wife during her captivity. Out of duty to his people, Rama banishes his beloved wife.

Aravindan's film opens on Rama and his brother travelling through Dandaka forest to attend a religious feast. Rama is strangely conscious of Sita's presence.... The film argues in slow, luminous images that the vanished Sita has now become the principle of harmony in the universe.

Kanchana Sita is both poetic and political: Aravindan uses tribals from Andhra Pradesh to portray the Aryan heroes of the Ramayana. To see nobility flashing from the eyes of the squat-nosed, low-browed tribals is to observe an important gesture in India's politics.