 And today, we're going to learn about the Japanese art film that was made in 1964, Woman in the Dunes. Oh, there's the poster for it. This is a very interesting movie, and the question is, is it still interesting? And why? Okay, and we have our favorite movie buff, who we just found out recently, is a movie buff and enthusiast in movies, Dr. Roopmati Kandekar. Welcome to the show, buddy. Aloha, and thank you for having me over here. And a first thing first, let me thank you for showing me this movie because I didn't know about, I've never seen a Japanese art film. So this was my introduction to the best Japanese movie I've seen. And so I'm very excited. Two and a half hours, this movie, you know, it flies by really. Realized that you just spent two and a half hours. So give us a five minute pre-see on exactly what happens in this movie. And then we can break it down. Yeah, Jay. So now, you know, this is like a thrilling concept that I was introduced to by you. And let me give you a brief about what thing is about this Kobe. Kobo Ake was the one who wrote a novel about this. And he was in 1993, described by New York Times as the best Japanese writer in the post-war period. And at the same time that he was writing this novel was the time he was expelled from the Communist Party. And Hiroshi Teshigara is the one who's made the movie on this novel. So now, Jay, this plot involves, you know, it's a black and white movie. It hits you straight in the face. It's clear as crystal, crystal clear quality for this picture. You're watching a digital print, you fail. So he introduces the protagonist as Nikki, who is an entomologist who's going in search of the insects. Okay. And he comes to a seaside village in Japan wandering along. And it's a very casual take. And he comes in the sand and he's searching for the insects. You know, it's beautifully done. Very casual, very casual. And then suddenly a villager comes to him. And it's late. He's missed the last bus. So the villager asks him, what are you gonna do about it? So he says, no, I don't know. He says, you're a government official. He's like checking him out. Reiki, is he come with somebody or he's alone, you know, he's associated with the government. He's checking his whereabouts, contacts. This guy says casually that I'm not, nobody's there. And the villager asks him, would you mind spending? You can take, you know, advantage of the hospitality and stay in our village. So this guy is more than happy. He's lowered into a pit on a wooden ladder, make shift ladder. He goes inside. And Jay, he's trapped in a pit. Now this is a cycle or she can, you know, you feel trapped. And he's dusting of sand every, every moment you find in dusting of sand. And he's, he's trapped in a pit in a house with a woman, a widow who's lost her, allegedly lost her daughter and her husband in a typhoon. And he doesn't understand the setup. He's, she serves him hot food, she gives him good clothes. He's settling down. And he thinks it's for a night. And then the psychological trailer happens that Jay, this lady gets up in the night and starts shoveling off sand. And another extra set of shovel is kept for the man. He's supposed to join him, but he doesn't understand this on the first day. This lady is shoveling all throughout the day. Okay. And then this guy gets ready to go out and the ladder is missing Jay. He's stuck in the pit forever. It is so this is the frustration that the director has brought out in the movie with those shots, which zoom in and out, make you feel claustrophobic, make you feel like you are in the pit and how do I get out? I should get out of this as soon as possible. And you know, the woman is unfazed. She's in her routine life. There is no changing. And this guy wanted to find a beetle and put his name in the books as finding a new species. Now he wanted to make a name for himself in the outside world. And today he's stuck and he's really not able to understand how to get out of this. So this the villagers come and give him ration and the lady has to give up the sand and the sand is sold to the builders. So it's a cycle that is connected economic cycle that they put it that this lady is earning her livelihood. She's put if she allows the sand to come in a little engulf her house and then the village afterwards. So she has to keep this routine going on. There's no stopping and she's very satisfied with this routine and the intimacy between them and the way they create a, you know, it's a forced bond. It's a forced, you know, you're there together. So you are together. It's that kind of a bond. There is no romantic involvement. And this guy has tried every which way to escape, try to make a ladder out of a scissor, you know, try to climb the roof, try to call out to the villagers, try to bribe the villagers, let me go out for one hour. And this guy finds one escape. He comes out of the pit. When he comes out of the pit and he rushes out, Jay, he doesn't know where to go. He's still stuck after coming out also and the villagers low him back. And Jay, after some time, these people, he starts, he knows how to signal to the villagers to come in if they need it. And his wife, not wife, the lady is pregnant as he calls out to the villagers and the lady is taken out, but they leave the ladder. When they leave the ladder, this guy has a chance to come up. He comes up Jay. But to the surprise of everybody, if I'm giving out a spoiler, he goes back inside. He goes back inside and he's, he's ready to live that life of confinement. I don't know what is the pleasure that he finds in it or what is his motive that he finds that he has to go back. He's found a way to desalinate water and give clean water. He's thinking of that. He's thinking of his child, which may come into the world. You know, viewers are just kept in a shut zone. And then in the end credits, you find that his name is finally on a list, but on a list of missing people who have been missing for seven years. So this guy has confined to his fate by living in that hut. So what is psychological thriller Jay? I mean, all these modern psycho horror movies and nothing compared to this, because in this movie, besides the actress and the actor, there is a protagonist, which is the sand and the sand is constantly lurking every scene. You literally feel it dusting it off your skin or drinking a glass of water. That kind of feeling that the director brings in with the soundtrack and the visuals that he puts in front of you is stunning. It's a masterpiece because that, you know, you equate it to yourself. You are confined in some, so you that hut, maybe your society that hut, maybe your, your workplace, that hut, maybe your love, that hut, maybe your family, you, you don't know where you're stuck and every person in life is stuck somewhere or the other. But that being stuck, every human being gets comfortable in that zone and sand metaphorically is for time that keeps on falling, that keeps on moving, that keeps on finishing your life. It will keep on going till you, like you try to wave the notion of time and you try to live your life for every person, sand is coming, time is going, sand is coming, go, go for every each and every person. But in this movie, you actually feel something is going on and you want to escape it, but you can't escape it because something is of value is waiting over there. So finding that value in life, finding something out of nothing is the moral of this movie and it's fantastically presented. Well, at this point, you know, our viewers are applauding to say, wow, we didn't know that Group Money kind of car can make this kind of fantastic analysis. It's really valuable. Thank you for that. I have some questions, though. I want to ask you about music. So the movie, of course, has beaches and has sand dunes, of course, there's dark skies, the black and white aspect of it really accentuates that and it's very suspenseful and it's threatening. And the movie has sound, it has music and the music is very suspenseful and threatening. Bells ringing and low rumble music, it makes you worry for that poor guy, what's going to happen to him next? And he's a victim, of course. And the villagers were so strange, those villagers with their, you know, sort of prehistoric outfits that they were wearing and the very bizarre sense of humor they all had. And this business model on it, you caught that they actually sold the sand. It was a product. It was used in concrete for construction, not too far away. And that is the only thing that connects this movie with the outside world. The sale of the business model, the sale of sand, which I find really, really interesting. There's no reference to the war, although the novel was written and the movie was made, you know, like 15 years after the war was over, no reference to that, no reference to the outside world, except that you could, you could, he lived in Tokyo and that you could buy a radio and listen to Tokyo. The radio was very important. Why is the radio important? It appears a couple of times the radio and it has a significance. The whole thing is metaphorical. What about the radio? Jay, that is the connection to the outside world, to the urban world, you know, what we try to be with outside our own comfort zone. That radio was like a symbolic thing about that. You know, he was willing to give her that. He was willing to bribe her to that, but she was very comfortable in her zone. She knew her duties, she knew her responsibilities and she was very satisfied in doing that. This guy prayed for something beyond that, but in actual reality, he wanted the same thing what she had. He allowed himself to be confined by that. So he allowed himself to be limited by that. He could have, he could have escaped, he could have gone back to Tokyo. That radio was something which she wanted, but when he is presenting her the radio in the end, she doesn't take it. She looks at him rather than the radio. So for her it became something beyond material and she was looking at him, but she knew she had no connection with him. And both of them, you know, the director is so or the writer or the director has so precise in their dealing with this relationship between a man and a woman that they're bought together by destiny. They're bought together by circumstance and how they adjust to that. And each one is wanting to go out or wanting something else, but what they have, if they value that, they are at a better condition. And they do. In this film, they actually do. He has the chance to go, but he doesn't. She has the chance to, you know, he, he bribes her with Tokyo. She refuses. So let me go, let me go back to the fact that the one who suggested the radio was her. She, he suggested the radio in the thought that it would make him happier because he was locked in the dunes. But, but at the end of the day, he presents the radio to her. So you have her caring about him and him caring about her. It's like, oh, Henry's story, the gift to the Magi. They're each giving gifts to the other one. And that's why I go and I, and I say, are you sure there was no romance there? Didn't they get to love each other? She, she was the perfect, perfect Japanese wife to him. She did anything to, she was doting on him in every way. And, and they were there for months at a time. And, and the filmmakers want you to expect that they will have a romance. You never actually see it. But you are always waiting for that to happen. She's, she's not bad looking. She's a pretty woman. And he's a handsome man. And you say to yourself, why, why are they coming together? Well, maybe they are metaphorically coming together. The whole thing is, arguably, this sand dune and this, this, this whole set of circumstances is like a marriage. When you find yourself locked in, you can't get out and you learn to live with it. And so, you know, and then of course, this horrible scene where he says to the, the town people who are above him on the, on the top of the lift there, he says, what will you want? What do you want to let me out for just an hour? Of course, he's going to try to escape or a day or some period of time. And they said, well, you will have to do it in public with the woman. And she resists, she's not happy with that at all. And then they have this fake rape, where he, he, he looks like he's having sex with her, but he isn't. And then they are exhausted by it. And there's a great lesson in that. What is that lesson? That every people are watching you in your relationship. But how much you cater to them is in your hands. How much you keep a life private is in your hands. And it's at the end of the day, a marriage is between two people. It's not about the public that is watching. Every person outside those two people is a third person. And that person will never be in the marriage, but will always watch, comment, talk, and maybe spoil the marriage. So it's up to those two people to care for each other. That is this, this movie because everybody was watching, everybody was taking pleasure. Hardly anybody's cared for the woman or hardly anybody cared for the man. They were caring only about the drama that is happening. And that is what spoils the lady who has catered to that man for so many days. She slaps him because he's playing to the crowd rather than paying attention to what she wants. So if the man doesn't care for the woman, the woman will never stay. Even in that pit, when she's stuck with him, she slaps it. She doesn't want to be with him. So that even at, you know, all this time in the movie, we see he wants to escape when people are watching them and people are, you know, people are watching the drama, that lady wants to escape. So it was a twist that lady wanted to escape from this hurt because the only person who could hurt her was that man. She was relying on the man to protect. She was relying on the man to be with her. She was facing the crowd. She was facing the world. She was facing, she was doing her hard work because she knew she had the man support. But when the man turns against her, she, she's shattered and she falls apart. So that's the moral of the story that the husband wife, they don't, husband wife, partners, if they don't care for each other, the marriage will fall apart and the man has to take the initiative because the crowd, the world is always there for the drama, always. That whole scene was mind boggling. You never expected that they would ask him to do that. You never expected exactly what would happen when he tried to do that. He was so determined. He was telling us all that he wanted out of there and he would do anything to get out. And so then, you know, at the inflection point, at least in terms of their relationship was when that was over and they were both exhausted. They were side by side for all of those guys to see. And you said to yourself, this is where they found a real relationship by resisting that silly request. Yes. And Jay, that is what happens. You know, this movie is just shown that what happens in your core core place is what matters in your life. What you do doesn't matter on your external factors. What happens in your personal in the marriage, maybe between two people in a private person's life, what what the person does on his own, the villagers, the villagers as a spectators, the outside world is abstract. You don't know where you're heading. You're supposed to head somewhere, but where he's running on the sand dunes, but he doesn't know where to go. So that is the world, Jay. We are all working hard, but we don't know where to go. So what we have, what we have is our house, what we have is our table, what we have is our cell, what we have is our family. So that is the thing that we have to value the most. And when a man and a woman of different people, you know, this was something she was living in her own house. She was a widow lost daughter lost her husband lonely. This man is thrown from above how they come together, how they respect each other, how they come together is different is what is compromised, what is coming to and what matters is each other always in any relation, not the spectators, not the village, not the sea, not the sand, the sand, the time everything keeps on ticking. But in this movie, he just showed personal relations on such a highlight, Jay. I was stunned. I was absolutely stunned. They do have a romance, don't they? Absolutely. They never, the director never shows you sex, never shows you, he shows you skin. Yes. He shows you them being close together. It was a small house and they were always inches away from each other. But then all of a sudden you find out she's in great pain that she has an atopic pregnancy, which is really, you know, who else could it have been? And he's the director is telling you that they did have sex. They were involved in a physical relationship. That's why she was pregnant. After all, they were there months before that happened. So who else could it have been? It had to be him. And he never leaves his side. Right. He never leaves his side. Right. So and then I find I found that whole scene was interesting because he goes and he signals everything happens at night in this movie. He signals with a burning stick that the villagers should come because he needed help. And they come and there's this one guy who says, oh, she has an atopic pregnancy. And he says, how do you know that? How do you know? You're a villager. You know nothing. I'm a teacher. I'm a scientist. You're how do you do that? And he says, because I worked for a veterinarian. That's like the woman who was held hostage in Gaza. Her arm was shut off. And the guy, the surgeon that put it back together again was a veterinarian. We don't give veterinarians enough credit. Anyway, so okay. So he diagnoses her. They take her away. She's in great pain. She keeps saying no. And I wondered what, you know, she must have said that 10 times. No, as they were lifting her up and taking her, I guess to a hospital, they didn't really say. So what was no about is that she didn't want to leave. She didn't want to leave him. What was no about? In her mind, it was, she had already always seen him trying to escape. In her, she had always seen him trying to make, you know, some mechanism which he could run out of the pit away from her. And in when she's been taken to the hospital, she sees that now when she goes to the hospital, he's got a good chance to leave. So that is the fear that she's carrying. So she prefers to be with him only. And that's why she's saying no, but she has to go for a pregnancy. So that's when, you know, you feel that she's, she's feeling she's lost him. The expression that she gives on her face is that she's lost him. This is it. He will run away. He will go away, or he will find some, you know, it's that kind of, it's a despair for her. The Stockholm syndrome that he's got, the hostage who is adjusted to the captive situation, she feels he will escape. Yeah, I felt the same thing. It was, it was the Stockholm syndrome. She was, she was his, his, his, his guard is, is, is, yeah. And, and he was, he was the victim, the prisoner, but okay, now it really gets thick there at the end, you know, you have to wait for it. So she is taken away by the villagers in the middle of the night for some kind of medical experience. Okay, he's alone. And he's feeling alone. And you're feeling alone, seeing him feeling alone. Yes. Then he looks out and he sees a small kid on the top of the ladder, which they left there. Some reason, I guess they didn't think to take it up. And the kid is making a decision as to whether he's gonna pull the ladder up and make it impossible for our friend to get out of there. But he doesn't, he doesn't pull it up. He leaves. And now, and now the man is in the pit alone, without the woman. And he has the ladder and the ladder is key to getting out of there. And so my first question, I have many questions for you. Why did the villagers and this kid leave the ladder available to the man to allow him to escape? Why did they do that? Because right now, Jay, they had a medical condition of their own villager. They wanted to take care of their own villager. It would take some time. You know, we can say they left it by mistake as per convenience, but it was left there deliberately. It's seen because the first thing that the villagers did in every point was to roll up the ladder. The first few scenes, three times they have rolled up the ladder. But in the fourth time, they just leave it there. Maybe the lady has requested, keep it, let him go now. Or you know, they're ready. You know, there's another house, a few meters across where there is a student, research student, which is kept, I kept it in the same way. So kind of this cycle will go on with another person. So that is the scene that is maybe presented. And Jay, when he's coming up, we'll come to that. But I think it's, it's deliberate because they feel that his work there is that. Okay. So then he sees the ladder and it's irresistible. He'd been planning for this glorious moment for months. Now he's going to get out. There's the ladder is right in front of me, climbs up the ladder and he walks up on the dune and he stands there and has a moment of truth where the whole movie comes together. You described it before, but I like to hear what you think was in his mind as he stopped his escape. The sun was coming up, it was dawn and he stopped his escape at the top of the dune and turns around. What is in his mind? Jay, more than his mind, I felt euphoric that he's escaped. He's come out, but then that moment is such that when you say that it's the sunrise and he's able to now see last time he had escaped, he had escaped in the dark and villages were chasing him with lights. Now he knows where he can go. There is nobody chasing him. And that kind of liberation that he feels, the confinement that is broken, the freedom that he feels, the viewer can literally experience that Jay because the white shot that they take is of the never ending sea, the horizon that they take from the back. And so that cinematography is something which is so visually appealing that from a pit where there is sand clawing in and there's a mini avalanche every second, he is right out in the sea. He is open to run. He's open to escape. He is open to live now. And you kind of breathe a sigh of relief. You forget about the lady and you feel now he can, he's finally come out. And then Jay, he wanted to say, what happened? Yeah, well, he turns around and goes back and stays there and he's happy enough. But we don't know whether the lady actually gave birth. We don't know whether she survives. We don't know if she came back to join him. All of those questions are left hanging. The only thing we're told is that nobody came to rescue him. He was talking through the movie about they know I'm missing. He tried to do a crow. I think it was he tried to set up a crow with a message tied to have somebody know that he was being held and that didn't work. Yeah. And she asked him, do you have advice? He doesn't say anything. So we don't know who is there. Maybe he's alone that he doesn't. If he had somebody waiting for him, he would have, you know, really done something to escape. But this guy starts feeling comfortable in this zone. And that's what life is about to adapt to within our confinement. Within your core to value your core is what this movie teaches Jay. I mean, there are so many psychological elements in this. And it talks about relationships. It talks about society. It talks about business because when she's sending sand up and they're selling to construction, it's a substandard sign. She says forget it as long as we get our ration and it goes to be sold. I don't care what happens to the others. We don't care. We don't care. And he asked her when she's shoveling sand every night, are you shoveling to live or are you living to shovel? So she is so adapted in her routine and she knows she has to work hard. She has to, you know, provide a nice house shelter. Like you said, ideal Japanese wife, all Japanese are ideal wives. Anyways, compliment to your business. She's making sure he has a lovely house. He has hot food. Even when there is, you know, there is a impending sand avalanche all the time. So she's making the effort. He's trying to escape the confinement and when he comes back, we see we don't know what has happened to her. So so many elements of mystery. We can only guess, but there are two other elements I'm going to ask you about before we get to the final questions here. Number one is when he was trying to escape on that one occasion, it was at night, of course, that's different from the dawn. And he was sliding down the sides of hills and the lake. And at one point he slid down into quicksand. Yes, remember that? And he could not get out. He tried and tried and tried, but he could not get out of the quicksand. And he called for help. And the villagers came to help him. And they, with some sophisticated techniques, they got him out of the quicksand. But the quicksand has to be metaphorical. Of course. What do you think the quicksand represented? From the frying pan to the fire. In life, you always go from one situation, you feel you're going to another situation, which may be better, but it can be worse. He's living a very warm life and he tries to escape. He's going to go in a worse situation. So the point that we can take from it is be satisfied in your moment. Be satisfied in your confinement because somewhere there is another danger lurking or there is another point. The villagers came to help him, but they could help him to bring him out. Maybe he would have died there and finished off. Then what is the confinement? Confinement would have been there. But here he's living maybe in difficulty, maybe with a stranger. Maybe he is in a difficult situation, but he's living. Then it would have been the end in the beginning. So life is two points. I mentioned the quicksand because he needed the villagers to help him out of it. He would have sunk right in. He would have died and they helped him out of it. So there's a community thing there. As strange as they were and they were pretty strange, they helped him. The other icon I wanted to ask you about was his effort to his system to just water using a membrane and some kind of osmotic process to bring the water from the bottom of the sand or maybe condensation from the top into a bucket. Now he had fresh water, which was at a great premium in the dunes. So he designed this and it was successful and he could live on it. There would never be another problem from him and the woman about water. But at the end he says, you know what, this is really valuable to the villagers. I am going to tell them about this. I'm going to show them and help them. So what you have is a payback. What you have is also a statement. Part of my life here, you know, imprisoned in the sand is I'm a member of this community and I will help them as they help me. What do you think? Yeah, Jay, he says that bucked up just as a trap to catch the crow and send the message, but he finds that it is drip and he gets clear water for him and his partner. So he's very excited about this. This survival thing in life when we achieve something you feel wow and then you take happiness in that moment. So and you feel a sense of achievement, but it's human nature. When you have achievement, you want to share it like how knowledge we have want to share the knowledge. So he feels that he should now share this and community that you said the villagers had this hardworking lady who would shovel the whole night and give the sand to them as much as possible was physically possible for her. They made sure they sent a man to keep her company. So the villagers also thought about the community and kept this lonely woman. They bought her a partner to share her life with. So that aspect of society we can see that they do bring together two people also and this man when he feels he's part of the community that maybe these people are rationing on one pail of water and one little bit of for them clear water is achievement after the giving sand out. So when he sees that he can harvest this, he really wants to share. It's a genuine thing that he feels and he feels I can escape another day. Let me first tell this to the villagers and I'm sure when he does this to the villagers, he becomes part of the community. Well, let me let me ask you one other, you know, sort of end of the movie question. So we know that they the kid left the ladder there. He escaped on the ladder came back down the ladder because you couldn't just drop into the pit. It would you break every bone in your body. So after that, when he learned to live with it alone, presumably in the pit, do you think the ladder was still there? Do you think they pulled it up again? Or did they leave it for him? This mystery of the ladder, I think they must have pulled it up. Oh, you know, this guy was so capable that he had created a ladder. We have seen that he created a rope to come out of it. He was not dependent on this something was, you know, bringing him back destiny. It's a game of destiny that life plays with you where it's which situation you land in. You never know. And you know, it takes you to your point of resting in every which way it's life takes you to every point in a predestined way. So how much ever you struggle, how much ever you try to catch a rope, make a ladder, it'll take you to that only point where you had it. It's always been that and you've always wanted something else. But it will when you go to that point of something else, you will always feel I wanted that. So the grass is never green on the other side. It's your grass which is always there with you because it's there. The concrete moment that you have is what is there. And this movie is all about just that moment. The lady has accepted her moment. The man is trying to find something other than the moment. This kind of struggle iconic struggle that happens in everybody's life is just shown in this movie so brilliantly, Jay. And we're just dusting of sand. And that is the time which tick tocks tick tocks all the time. Jay, he didn't. So he didn't. Once he realized who he was, where he was going, what he wanted. It didn't matter whether they pulled the ladder up or not. It didn't matter. There's no longer interested in the ladder. Yeah. Yeah. Okay. Well, let's a couple of closing questions here. Do you think, Rupemati, that this movie, 1964 black and white, you know, certain production values, although, as you said, it was it was as good as a digital. Yes. It was very sharp video and very good sound. Do you think this movie has stood the test of time? I say time with due regard for the fact the movie is all about time. It's the sands of time, Jay. It's the sands of time. And I'm absolutely sure that this movie is relevant for any day, any age, any, any person who wants to watch something, a relevant commentary about life in a hard hitting way. It'll play with all your senses, even if you're fast asleep and you pick up this movie for watching, you will wake up, Jay. It's like that kind of a movie which grips you. It keeps you hanging on. You want to know what happens next. Okay, what happens next? And it's a two and a half hour movie, Jay. It's like an Indian Bollywood movie, but you it's an art movie, but you watch it in the matter of you feel it's it just started, but something has to be done. You want something more to happen. It's never a dull moment in that movie. And Jay, the close ups that he takes are so, you know, you feel literally the sand is everywhere. Oh, isn't that true? They have these close ups of the skin, the grains of sand on the skin. And then from that, you can extrapolate what their emotional state of mind was. The way that it's really interesting how, as you say, the close ups are mind boggling. The looming effect of the sand is so, you know, it's, we have 3D right now, 5D right now. This movie is an art movie made in 1964. It's got a 10D effect on you. All your senses, all your senses tingle and all your senses want to know where he's going, what he's doing, where he's escaping. Somebody should help him, somebody, he should go, he should go. And when he doesn't go, you feel okay, good. He's gone back. So that kind of the viewer is also changing along with the plot, Jay. That is what is lovely in this movie. I mean, the viewer doesn't say he should have escaped. The viewer says, okay, good. Now she'll come back. He'll be there for her. You feel that? I mean, I cannot explain to you how the viewer also changes their plot according to what the, when he's escaping the first time, you're literally cheering him, yeah, he's escaped. The second time he is escaping, you think what happens back over there. And when he comes back, you feel good. Now they're a happy home. Now they're a happy home. You feel that. So human nature at its best, best. Well, your analysis is really, may I say brilliant, and I really appreciate it. So, you know, we rate these movies at the end, everybody. And we go from, you know, zero to 10. But I have to admit that sometimes we go over 10. So my question to you is how do you rate this movie in the fullness of time and in the fullness of your own life experience? 110. Because this movie is made in 1964. It's relevant in every office place. It's irrelevant in every marriage. It's relevant in every family. It's relevant in every friendship. It's relevant in every economy and relevant in every stage. You know, you can't, you can't, you can take this and paste copy pasted on any point of your life. Everybody at any point of life as well. Maybe I want something else. Maybe I want to do something else. And it shows you both parts simultaneously. The actress is beautifully satisfied in her condition. How many hardship she could have been crying about her situation, but she is gotten back into routine. She provides for this man and he's trying to escape. But he also comes back. So destiny, you know, life, cosmos that you, when they stop shoveling sand, it will come back. It will engulf everything. Rumaati, I was going to give it a 10. But you have shown me so many points of excellence that I'm not at all sure that I would stop at 10. I'm going to have to reconsider that later. But this was a great review. And you're right. It's a great movie. It's a movie to think about and to learn from. Dr. Rupati Khandikar, a movie buff, a movie extraordinaire. Thank you so much. Thank you for having me, Jay. And thank you for showing me this movie because it was just, just lovely.