Executive produced by Dev Patel, Raghuvir Joshi’s Sahela (Companion) moves its “coming out” narrative away from Sydney’s beaches and the queer life of Oxford Street, to the city’s geographical centre, Parramatta, and its Indian-Australian community.
Vir Oza (Antonio Aakeel) and Nitya Behl (Anula Navlekar) are a young married couple still in their “honeymoon phase”. Living with Vir’s parents, they are saving to buy their own place and sneaking off to expensive open houses for the free champagne. They seem like a model Indian-Australian couple rising in the world, while carrying on their families culture and traditions. But despite appearances, they are struggling under the weight of expectations. Vir is realizing that he is not sexually attracted to Nitya and his withdrawal of intimacy is having knock-on effects throughout their marriage and the lives of their families.
While on the surface this is another “second-generation immigrant’s coming out” story, there are details in Sahela that make for a much more interesting tapestry. For instance, this is not Vir’s story only, it is rooted in the dynamics of his marriage. Navlekar is superb as Nitya, channelling the disappointment, hurt, and desperate desire to understand, of a partner who has been blindsided. Similarly, Harish Patel’s innate, lovable charm (he was a scene-stealer in Marvel’s Eternals) is used to great effect as Vir’s father who is doing his best to protect and provide for his family, but stuck in antiquated ways of thinking.
Meanwhile Aakeel’s Vir is lost in his own fragile maze, trying to find his way to happiness. Vir describes “self-discovery” as a “luxury” that he can’t have. A variety of Grindr hook-ups give him windows into other gay men’s lives; from the happily single, to other married men who have “understandings” with their wives. When the family business is threatened by his coming out, and the end of his marriage, Vir is almost sunk by grief.
Scott Gray’s editing has flare, as the film uses some non-linear timelines to strong emotional effect, and Michael McDermott’s cinematography offers a fresh eye on Sydney’s West. The screenplay, by Atika Chohan, Jett Tattersall, and S. Shakthidharan based on a concept by Tayyab Madni, suffers slightly from some overly theatrical language and metaphors that do not quite land—Vir’s love of sailing doesn’t have the intended impact—but the specificity and emotional truths of the writing hits home.
Sahela reminds us that even in one of the world’s queer capitals, outdated ways of thinking about sexuality still persist, making “coming out” narratives continually relevant. As one character says, “I’m not hiding, I’m adapting. There’s a difference”.
By Chad Armstrong
Sahela screens at Queer Screen’s 31st Mardi Gras Film Festival on Friday, February 16th, followed by a Q&A with producer Tayyab Madni. The 2024 Mardi Gras Film Festival runs in cinemas in Sydney February 15th – 29th and on-demand Australia-wide March 1st – 11th.
Leave a Reply