Mental health is often mistakenly perceived as an issue confined to urban areas in our films. However, a groundbreaking new film from a Madhya Pradesh village is challenging this stereotype and making significant waves internationally. Debutant director Jitank Singh Gurjar’s Vimukt: In Search of the Sky has recently been honored with the prestigious NETPAC Award for Best Asian Film at the Toronto International Film Festival (TIFF).
At its core, Vimukt tells the poignant story of Naaran, a 26-year-old man living with mental instability. Born to an elderly, underprivileged couple, Naaran’s parents face immense societal pressure and internal struggles. While his mother believes a purifying dip at the holy Kumbh Mela could be his cure, his father, burdened by poverty and societal judgment, sees the pilgrimage as a desperate chance to abandon what is widely considered a burden.
“It’s truly inspiring to witness how our humble story from Braj can resonate so deeply within the realm of World Cinema,” shares Jitank. He found immense truth in the narrative penned by producer Pooja Vishal Sharma, seeing it as a perfect canvas for his own experiences. “Growing up in a village, I observed how people quietly endure grief and struggles through subtle gestures and unwavering faith. This raw essence naturally informed our storytelling,” he explains.
Pooja emphasizes that the perception of mental health as an ‘urban’ issue often overlooks the far harsher realities in villages and smaller towns, where silence, stigma, and lack of resources amplify the struggles. “This isn’t mere reportage; it’s a deeply personal perspective,” she states. The greatest hurdle, she adds, was resisting the urge to overly dramatize the story. “I was determined to remain authentic to the natural rhythm of a rural family’s life.”
Beyond the surface-level conflict, the film weaves in a profound spiritual layer that lends it a mystical and deeply moving quality. Jitank elucidates that Vimukt signifies liberation—freedom from the internal weights of fear, grief, and expectations. “The young protagonist embodies life’s true nature; he doesn’t dwell in a single mood or state of being. He is more than just a son; he is an observer, a reflection of existence’s ever-changing truth. Through him, faith emerges not as a rigid ritual or doctrine, but as a serene surrender to life—a way of being fully present, open, and ultimately, free.”
Hailing from Dabra, a small town near Gwalior, Jitank, who holds a Psychology degree and a strong background in theatre, often felt that the rich culture he grew up in was underrepresented in cinema. “That fueled my desire to create films deeply rooted in this land and share its unique nuances with the world,” he remarks.
This drive also explains the film’s use of the Braj dialect of Hindi. “While Marathi, Haryanvi, and other strong regional cinematic voices exist, Braj or Bundeli cinema has barely found its footing, despite being spoken by approximately 200 million people,” Jitank points out. “I felt a profound responsibility to produce quality cinema in Braj, not only for representation but to allow its spirit, music, and culture to truly come alive on screen.”
Nikhil Yadav’s exceptional performance as Naaran stands out as one of the film’s major highlights. “Nikhil was Pooja’s find,” Jitank reveals. “She was unwavering in her choice, and I was convinced after seeing his phenomenal audition. As we developed the character, we meticulously observed individuals like Naaran, delving into their psychology and crafting a comprehensive character history and design. We also spent time at an NGO dedicated to caring for such individuals, closely observing their daily lives. This immersive process provided Nikhil with a grounded understanding that resulted in such a truthful performance.”
The film’s stunning visual design beautifully underscores its spiritual themes. The captivating scenes from the Kumbh Mela, particularly the evening shots against the backdrop of the giant wheel, evoke memories of Joyland, the critically acclaimed indie film from Pakistan. “Joyland is undeniably my favorite film of the last decade, inspiring me on multiple levels,” admits cinematographer and creative director Shelly Sharma.
“Our visual color palette drew inspiration from Wes Anderson’s The Darjeeling Limited. The aim was to create a sense of excitement and unpredictability. We visually strived for authenticity, enhancing cinematic elements with subtle filters, a delicate layer of Vaseline on clear glass, thoughtful costume colors, and strategic location choices within the Kumbh. We also made the most of the limited RGB lighting tubes we had available,” Shelly explains.
Shelly adds that the inherent production design of the Kumbh itself was a significant advantage. “I simply needed to creatively utilize it to serve our narrative and enhance the character’s emotional journey.”
Both Jitank and Shelly recall the Kumbh schedule as a whirlwind. Jitank remembers orchestrating fake altercations in the crowd to divert attention and capture necessary shots, while Shelly speaks of having to “play it by ear” as circumstances constantly shifted. “We managed massive crowds without any dedicated crowd control or extensive technical reconnaissance,” she marvels.
Elated by the NETPAC recognition at TIFF, Pooja expresses, “For independent filmmakers, this isn’t just an award; it’s a powerful dose of encouragement, validation, and hope. It reinforces that our voices matter, and that our stories possess the universal power to transcend borders and deeply touch hearts.”