A pioneering cinematic elegy sculpted from the lyrical fragments of Rabindranath Tagore’s poetry, Mone Rekho stands as

India’s first poetry film: a genre-defiant short where verse supplants dialogue,

and the architecture of language becomes both narrative and emotional compass.

Directed with contemplative precision by Mrigankashekhar Gangopadhyay, the film reimagines Tagore’s poetic cosmos

through a deeply sensorial and minimalist cinematic language. Here, the voice of the poem is not supplementary,

but sovereign: embodied in the haunting recitations of Satyajit Biswas, whose cadence

evokes the affective weight of memory, longing, and loss.

Premiered in the Trans Verse segment of the Hyderabad Literary Festival 2019, Mone Rekho was the sole Indian film selected

among eight international works from France, Portugal, Brazil, and Ireland. Screened over three successive days,

its presence within this global poetic dialogue signifies a vital intervention from the South Asian aesthetic imagination.

The film’s interpretive performances transcend biographical reenactment:

Ananya Khyada Bhattacharya renders Kadambari Devi with spectral poise,

Gaurav Das’s Rabindranath is quietly fractured, filled with interiority,

and Satyajit Biswas’s portrayal of the unnamed mentally ill character serves

as a profound metonym for fractured subjectivities and poetic delirium.

Soundscapes curated by Timir Biswas do not merely accompany the visuals: they breathe through them,

sculpting an affective sonic atmosphere that is both intimate and expansive.

Mone Rekho is less a film and more a reverberating poetic act:  

a meditation on memory, madness, and the spectral afterlives of language.