Natasha Mendonca returns to Mumbai, the city of her birth, after the devastating floods of 2005. Alongside all the silent witnesses to nature’s violence, she primarily records the personal consequences of this destruction and the way the disaster undermined the security of hearth and home. Jan Villa is not a linear narrative, but an impressive associative essay whereby the images seem sucked inwards as if in a vortex.
In South Asian experimental films we often see a playful use of cinema language and the distinctive cultural roots of the authors. Juggling between mythology…