Some films demand your attention. You sit down and try to decipher what the filmmaker wants to say. Carefully chosen music plays in the background as the people on screen perform rehearsed scripts, and ultimately these films strive to make a strong statement. Mast Mahila Mandali does none of that and is still arguably the best feel-good watch of the year.
Mast Mahila Mandali (The Cool Ladies’ Club) is a snippet of the lives of ten women from a working-class neighborhood in Chembur, East Mumbai.
Mast Mahila Mandali (The Cool Ladies’ Club) is a snippet of the lives of ten women from a working-class neighborhood in Chembur, East Mumbai. Anjum Shaikh, Nazneen Siddiqui, Darshana Mayekar, Rehana Shaikh, Gauri Rane, Rohini Kadam, Kavita Ghuge, Sheetal Navle, Kavita Khomne and Vaishali Mane are not just the subjects of this film; They are also directors, actors and owners and own the copyright of the film in their own names.
The origin story
CHOIR India is an organization that advocates for the needs of marginalized women at the grassroots level. As part of its “Right to Pee” campaign, which advocates for female-only public urinals, the organization wanted to make a film featuring women from marginalized communities. Supriya Jan, the Head of Grassroots Knowledge Building Organization, invited Dr. Shilpi Gulati, a National Award-winning filmmaker who teaches at the Tata Institute of Social Sciences (TISS), to co-direct the film with them. The idea was that grassroots women, often reduced to data points, should take ownership of their narratives and be able to tell their own stories about where they come from.
Inspired by the Third Cinema Movement, Dr. Gulati is experimenting with smartphone filmmaking precisely because it democratizes the technology and puts the camera and the story in the hands of the people who experience it. It was the perfect cross-genre documentary approach for the women to tell their own stories, drawing on their lived experiences.
Inspired by the Third Cinema Movement, Dr. Gulati is experimenting with smartphone filmmaking precisely because it democratizes the technology and puts the camera and the story in the hands of the people who experience it. It was the perfect cross-genre documentary approach for the women to tell their own stories, drawing on their lived experiences.
However, the obvious question arose: what exactly was the film supposed to be about?
Brainstorm on the topic
The 10 women were brought on board for the project and met every Saturday for over 18 months to hear from Dr. Gulati to learn the basics of filmmaking. Speaking to FII, Dr. Gulati: “I suggested organizing a filmmaking workshop because I felt that if the women really want to become co-directors of the film, they need to be trained in the medium first.” We then began identifying the women who would take part in the process.”
Each week they were given a small homework assignment as part of the process. They had to record each other doing everyday tasks such as cooking, playing, talking, visiting each other’s houses, eating together, talking about themselves, etc. Filming went well, but they still couldn’t agree on a common theme for a film.
Although Nazneen Siddiqui was still undecided about what to document, she was sure of at least one thing: she didn’t want to tell a story as a sad woman; she didn’t want to be pitied. She said: “Sure, we’re from the Basti.” When people hear that a woman from a basti is making a film, they would immediately assume that it is a sob story; I don’t want that. It’s my life. There is always sadness and happiness in every person’s life. But I’ll have fun.’
The workshop had a strong pedagogical concept based on feminist methods. It encouraged women to examine themselves and respond to the city and the world around them. Therefore, it was decided that the film would be about them and about them, exploring how they “claim joy in everyday life.”
The workshop had a strong pedagogical concept based on feminist methods. It encouraged women to examine themselves and respond to the city and the world around them. Therefore, it was decided that the film would be about them and about them, exploring how they “claim joy in everyday life.”
Rohini Kadam noted, “Many of us had not even used a telephone other than calling and messaging.” Making films with the phone was new to us. We asked ourselves who would want to see a film about us, our friendships and our neighborhood. But little by little we realized that we could document our own lives and present them as a wonderful film.”
Mast Mahila Mandali is a 72-minute film (cut down from 72 hours of raw footage) that offers a glimpse into the unfiltered, chaotic, hilarious, intimate and powerful lives of ten ‘Mast’ women. The film is intersectional, secular, anti-patriarchal and feminist without ever explicitly referring to these terms. One moment the women are gossiping and teasing each other like schoolgirls at a picnic; In the next conversation, they talk about work, public spaces, exhaustion, life before and after marriage, and the little acts of rebellion that keep them going. There are kitchen scenes and gym workouts, cricket matches and kabaddi games, daily commutes and late-night laughs – all seamlessly woven into a delightful film.
Although the women come from different castes, classes and religions, the filmmakers consciously choose not to make these differences the focus of the film. Instead, the film focuses on their shared identities as women, their everyday challenges, and their resilience to overcome them to claim their rightful joy.
Although the women come from different castes, classes and religions, the filmmakers consciously choose not to make these differences the focus of the film. Instead, the film focuses on their shared identities as women, their everyday challenges, and their resilience to overcome them to claim their rightful joy. It’s radical without being preachy or taking a holier-than-thou approach.
Rohini Kadam adds, “As Hindus, Muslims or Buddhists, some of our habits may be different, but we live in the basti and all the houses in the basti look similar, so our differences don’t matter.” We all come from the same place. I would like to thank Supriya for bringing us together in dynamic groups and making sure we visit each other’s homes. “It really deepened our connections and further developed our friendships.”
In the film, Kavita Ghuge proudly holds up a book and makes sure it is clear how much she admires it. The book is the Constitution of India, and she notes forcefully, “We are all here because of the Constitution.” Throughout the film, the women document their lives with pure honesty and dignity. It comes from the safe space she and the team have created so they can share their stories fearlessly and unapologetically.
Is Mast Mahila Mandala fun?
Really, yes. The women are fun and funny, the kind of wit that comes from surviving life in style no matter what it throws at you. Her joy and laughter are the heartbeat of the film. Even when someone talks about a difficult part of their life, she leaves them with a smile and a feeling of optimism. In fact, fun became a central part of the film’s methodology. Gauri Rane shared, “After marriage, women forget to live for themselves.” They live for their children, husband and in-laws. I had forgotten what my dreams were. But working on this film gave me a lot of confidence. “I’ll keep learning new things now.”
The 72-minute film is a sweet film that doesn’t exceed expectations, but definitely leaves you wanting more time with this great group of women.
If you’re looking for inspiration for a fun-filled life, look elsewhere. The women are not here to inspire. They are wonderfully human, flawed, dramatic, loving, stubborn and joyful. In other words, they are simply “mast.” Mast Mahila Mandala is the women’s film. Not those of their families. Not their husbands’. Not her children’s. Simply hers.
The 72-minute film is a sweet film that doesn’t exceed expectations, but definitely leaves you wanting more time with this great group of women. It has the warmth of a musical theater, with various soundtracks in the background. As Kavita Khomne sings the Bollywood song “Zindagi Ek Safar Hai Suhana,” the film beautifully blends together into a medley of different moments from the lives of ten different women.
Supriya Jan remarked, “We just wanted to reach people’s hearts and I think we succeeded.” I received responses from people in the LGBTQ+ community saying they saw themselves in the film! I didn’t expect such a reaction to the film, but I’m glad we were able to create such a feeling in people’s hearts. For us, this is a great compliment and proof of the solidarity that joint projects can build.”
Anjum Shaikh has a simple message for all women watching the film: “Live life for yourself, stand on your own two feet and keep having fun.” After all: “Image abhi chalu hain (The film is still running)”.
Anjum Shaikh has a simple message for all women watching the film: “Live life for yourself, stand on your own two feet and keep having fun.” After all: “Image abhi chalu hain (The film is still running)”.
Some of the quotes in the article have been edited for clarity and length.
The quotes from the women behind the film are the author’s free translation from Hindi.