Tampha, mother and wife, lives happily and peacefully with her family until her behaviour suddenly changes. She talks to flowers, sings strange songs, gets in a bad temper and then has attacks of hysteria. The sudden and puzzling changes in her behaviour is caused by magical forces. She has been ‘chosen’ by the god Meibi – also a strange event for an Indian audience, comparable in effect to with the Christian magic in the films of Dreyer on a Western audience. Tampha joins the Meibi sect. She is trained in ritual dances, which play a significant part in the film; they work hypnotically and are based on authentic rituals. The bond with god makes it look as if there is no way back for Tampha to her family, but the bond with her daughter is not completely severed.Ishanou is a sober and moving film; its power is in the subtle and restrained dramatisation of the emotions of the people in the woman’s surroundings. The film is an example of regional cinema in India and is rooted in the Manipur culture. It is made in the province of Assam, where films are only made occasionally. In Ishanou the local language of the province is spoken and in the cinematographic language the film is also not comparable with usual Indian film production. Chris Goodwin (Moving Pictures International): ‘Ishanou is likely tosurprise those with pre-conceived notions about Indian cinema.’
