Not Today (2021) Movie Review

There is something elusively compelling about the movies that make dialogue dramatically engaging throughout the runtime. Despite their shoestring budget, some films envelop you with raw and unadulterated emotions with pure use of dialogue and a minimalist setting. Usually, I judge movies based on three distinct parameters: art, influence, and entertainment. However, there are some films that, despite being devoid of entertainment, offer you so much to chew on emotionally that you feel for them instantly, and “Not Today” is one such film.

The film’s subject is highly pessimistic and dark, and there is no scope for entertainment. It is based on two characters with unspeakable past traumas – Aliah Rupawala, a 24-year-old girl who joins a helpline as a Suicide Prevention Counsellor without letting her family know of it and Ashwin Mathur, who is at a rooftop in Mumbai contemplating about killing himself but calls the suicide prevention helpline before doing so to give life a final chance. The whole movie is essentially a deep conversation between these two characters that reveals some dark secrets about each other, illustrating each other’s trauma. A film like this can be a complete downer and could venture into the territory of misery porn, but the writer and director, Aditya Kripalani, never let that happen.

As Aliah receives her first call as a suicide prevention counselor, we are taken on a rollercoaster of emotions. The plot deepens with each conversation between the two, and we come to know that there is more to the personalities of both characters than meets the eye. Set on the vibrant occasion of Diwali, the film doesn’t shy away from talking about challenging topics like suicide, alcoholism, and bad parenting. Kriplani veers away from the easy route of showing flashbacks of both characters and paints vivid images of their past purely through dialogue.

Initially reluctant to share his story with Aliah, Ashwin let his emotions flow at last. His dynamics with his father and romantic partner are soul-crushing yet wholly believable. I specifically liked how Aliah gets Ashwin to talk about himself by sharing her story of past traumas, beginning with her engaging in religious activities despite being an atheist just because her parents adopted her from an orphanage at the age of 12. Aliah reveals she was a depressed kid when she got adopted. Ashwin listens to her quietly, as though he has found a companion for a fleeting moment to share his trauma with despite being on the verge of killing himself.

The reveal of Ashwin himself being a suicide prevention counselor for 15 years is done exceptionally well and lets the narrative take off with utmost finesse. Amidst all the conversations about the central characters’ past traumas, there are also nods to the art of cinema, with Aliah growing up in the orphanage reading literature and watching cinema with her mother figure Tasneem introducing art to her and Ashwin working as a writer in advertising before drowning himself in alcohol and eventually becoming a suicide prevention counselor.

Not Today (2021) Movie Review — A still from “Not Today” (2021)

One thing that’s particularly striking about their conversations is how quietly they listen to each other without interrupting. Their story mirrors each other, and they can’t help but sob when hearing them from someone else. The topic of mental health is always difficult to approach in cinema. However, “Not Today” has a distinct quality to present it with sincerity and earnestness. Ashwin reveals his troubled relationship with his father and how he wasn’t there in his final days, which comes off as agonizing. Still, the way Aliah quietly listens to him showcases how much she resonates with his story. Till the age of 12, Aliah had Tasneem, who was the ideal mother figure, and then inexplicably, one day, she got separated from her, leaving her deprived of any mother figure.

Ashwin laments that he wasn’t there in his father’s last days, and Aliah laments that she doesn’t remember anything about Tasneem, including her face, despite remembering even trivial events from her past. Some wholesomeness permeates the atmosphere when these stories are being told. Aliah sends her childhood photograph to Ashwin, and Ashwin scolds Aliah for not having any self-respect, which illustrates the bond these characters form over a small conversation on the phone. So, even if the characters are essentially discussing their dark pasts, the movie manages to have a little love and empathy for them.

Both characters mostly talk about their sorrows during the entire runtime. However, there are still moments of tranquillity and solace in their conversations that simultaneously warm and crush your heart. The simplicity of the movie, the pellucid sky, and the unhurried essence suck you into its world and don’t relinquish its hold even for a second. In its rather brisk runtime of 92 minutes, this sweet little indie gem offers more than most movies can do in their longer runtimes.

However, no matter how much I praise the writing and direction, the film wouldn’t be this impactful without the awe-inspiring performances of both lead actors. Rucha Inamdar and Harsh Chhaya perfectly embody their respective roles. It is easy to overact in a movie where there are constant outbursts of emotions and the constant burden of coming off as authentic. Still, both actors remain expressive yet poignant in their respective characters. The movie’s pessimism is palpable in the atmosphere. There is also a sense of paranoia and dread as the audience is uncertain of Ashwin’s fate. However, Kriplani doesn’t decide to end the film on a bleak note. He leaves you with a glimmer of optimism, emphasizing that conversing with the right person at the right time can change anyone’s life for good.

While talking to the film director, I found out that it’s been five years since they are trying to make this film reach a wider audience. I am glad that the platform of Letterboxd exists where he could share this movie with me and other members, but I genuinely hope that “Not Today” finds a larger audience and they witness this profoundly emotional and enriching journey brimming with passion. Indian cinema’s indie scene needs this now more than ever.