
Secret of a Mountain Serpent
Drama Hindi
In a 1990s Himalayan town, teacher Barkha, whose husband serves at the border, develops feelings for enigmatic newcomer Manik amid a community of waiting women where silence and local myths prevail.
| Cast: | Trimala Adhikari, Adil Hussain, Pushpendra Singh, Richa Meena, |
|---|---|
| Director: | Nidhi Saxena |
| Writer: | Nidhi Saxena |
| Editor: | Saman Alvitigala |
| Camera: | Vikas Urs |
All Guild Reviews of Secret of a Mountain Serpent

A dip into the river of female desire

An exquisite piece of cinema that blurs the line between the dreamily meditative and the tangible to explore the boundaries of female desire.
Secret of a Mountain Serpent by writer-director Nidhi Saxena is a poetic exploration of female desire set against the backdrop of the Kargil conflict. Premiering at the Venice Film Festival, the film weaves folklore, symbolism, and haunting performances by Trimala Adhikari and Adil Hussain into a tapestry of longing, liberation, and cinematic beauty. With its blend of myth and reality, evocative sound design, and visual mastery, it is an unforgettable contribution to Indian independent cinema. Between Dream and Reality Writer-director Nidhi Saxena’s second film, Secret of a Mountain Serpent, is an exquisite piece of cinema. It blurs the line between the dreamily meditative and the wholly tangible to explore the boundaries of female desire when it is set free from the suffocating constraints of societal stipulations. ‘

The Artistic War Between Desire and Belonging

Nobody challenges the form of Indian storytelling quite like Nidhi Saxena, whose second film is playing at the Venice International Film Festival
Most film-makers use craft to tell stories. But some use stories to craft unfilmable feelings. Nidhi Saxena did it in her feature-length debut, Sad Letters of an Imaginary Woman, which had its world premiere at Busan last year. The life of a middle-aged caregiver and her ailing mother in a crumbling ancestral home became a medium to explore the transience of memories, trauma, loneliness and everything in between. The montage of a character recording whispers and past sounds from the walls of her house with a boom mic can seem strange — pretentious, even (the house in ‘arthouse’). But it encouraged us to renegotiate their relationship with the act of watching a movie. The orthodox need to interpret fiction made way for a sensory experience of understanding life itself. Imagine the screen speaking to the viewer in a different language: where expression comes disguised as an aesthetic.
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