Deepa Mehta’s Fire is a groundbreaking film in Indian cinema that is a human story more than anything. The domestic space is a central motif, as the claustrophobic interiors, characterised by narrow hallways, small rooms, and crowded kitchens, represent the oppressive environment in which the protagonists, Radha and Sita, live. This is contrasted with the few moments of liberation they experience in open-air settings, emphasizing their yearning for freedom and self-expression. The colour palette is deliberate and evocative, with warm, earthy tones dominating the household scenes, reflecting the rigid environment. In contrast, moments of intimacy between Radha and Sita are highlighted with brighter, more vibrant colors, symbolising their burgeoning love and desire.

Aligarh

In Hansal Mehta’s Aligarh, the production design is stark and realistic, mirroring the grim reality of Professor Siras’s life and enhancing the bleakness of his life after being persecuted for his queer identity. The sparse academic settings, characterised by minimalist design and muted colours, reflect the unforgiving nature of the institution, emphasising Siras’s alienation. His modest home, with simple furniture and personal artifacts, serves as a sanctuary that contrasts sharply with the public’s harsh scrutiny. The muted colour palette, dominated by shades of grey, brown, and beige, conveys melancholy and resignation, while the raw textures enhance the unembellished atmosphere. The film’s design effectively juxtaposes public and private spaces, using lighting and spatial arrangements to highlight the invasive nature of public intrusion into Siras’s personal life. These design choices amplify the emotional impact of the story, allowing the injustice and isolation faced by Siras to resonate with viewers.

My Brother…Nikhil