**A Revolutionary Story of Affection and Heartache: Rohan Kanawade’s *Cactus Pears***
Rohan Parashuram Kanawade’s inaugural feature film, *Cactus Pears* (*Sabar Bonda*), is a delicate yet spirited examination of queer love and sorrow set in rural India. This semi-autobiographical Marathi-language film, drawn from Kanawade’s own experiences following his father’s passing, represents a historical achievement as the first Marathi film to debut at the esteemed Sundance Film Festival. Competing within the World Cinema Dramatic category, *Cactus Pears* goes beyond mere competition, signifying an important moment for Indian cinema on the international stage.
The film’s storyline emerged from Kanawade’s personal reflections on loss and companionship. Following his father’s death, he contemplated how having a partner could have alleviated his grief. The outcome is a moving narrative that explores not only love and loss but also confronts societal conventions with its unapologetic representation of a queer relationship.
### A Subtle Defiance in a Traditional Landscape
Though “disruptive” might not completely embody the spirit of *Cactus Pears*, the film possesses a quiet yet unmistakable defiance at its center. In numerous Indian families, open expressions of affection—especially of the queer kind—are frequently suppressed. Traditional patriarchal norms dictate that men should exemplify discipline and authority, often leaving little space for vulnerability or softness. Against this backdrop, Kanawade’s film arises as an unprecedented act of rebellion.
By portraying a queer romance between two men without the customary shroud of shame or tragedy, *Cactus Pears* contests deep-rooted stereotypes. The film’s genuineness and emotional richness amplify its significance, particularly as a first-time directorial endeavor.
### The Contrast Between Urban and Rural Existence
The narrative follows Anand (Bhushaan Manoj), a 30-year-old resident of Mumbai, who travels back to his ancestral village of Kharshinde in Maharashtra with his mother, Suman (Jayshri Jagtap), to partake in a 10-day mourning ritual following his father’s demise.
Mumbai, a bustling city filled with migrant workers and families seeking better prospects, embodies both aspiration and disillusionment. Anand’s grandfather was the pioneer in his family to make this leap, yet the anticipated wealth has proven elusive. Anand’s modest salary scarcely supports the studio apartment he shares with his parents, while his cousin Bajrang, a veterinarian in the village, owns a multi-storied house that, although incomplete, symbolizes upward mobility.
The disparity between urban and rural life is pronounced. For some villagers, the city symbolizes advancement, a place where basic necessities like electricity and running water are often taken for granted. However, the film probes whether this attraction is merely a mirage. The unfinished exterior of Bajrang’s home acts as a metaphor for the unfulfilled guarantees of a “better” existence.
This dichotomy parallels themes seen in Payal Kapadia’s *All We Imagine as Light* (2024), where a woman seeks comfort in returning to her roots. Nevertheless, for Kanawade’s Anand, the city—despite its confined spaces—provides a sense of acceptance and freedom that the village cannot offer.
### A Queer Romance Free from Stereotypes
In Mumbai, Anand openly identifies as a gay man to his parents, who embrace his identity without embarrassment. Yet, in the village, relatives are told he remains single due to heartbreak from a woman. This contrast highlights Anand’s challenge in balancing his authentic self with societal pressures.
Anand’s reconnection with his childhood companion Balya (Suraaj Suman) offers a respite from the stifling mourning customs and familial expectations to marry. Their shared moments—tending goats, swimming in a lake—transform into a haven where their mutual longings are recognized. For Balya, their relationship also symbolizes a possible escape from the restrictions of village existence.
The film’s title, *Cactus Pears*, acts as a potent metaphor. The fruit, growing atop thorny cacti in unforgiving environments, represents the strength and beauty of love that blossoms despite hardship. Kanawade’s writing intentionally subverts typical queer narrative clichés. Anand’s father, for example, is depicted as a trusted ally rather than an adversary. Balya, the village inhabitant, possesses more worldly experience than the city-raised Anand. The story, while rich in grief, avoids devolving into a sorrowful tale.
Remarkably, the film forgoes conventional background music. Instead, its soundscape is enriched by the natural sounds of rural existence—birds chirping, footsteps on dirt paths, and the jingling of cattle bells. This minimalist style reflects Anand’s inner turmoil, as the passing of his father has muted the melodious rhythm of life, leaving