Rains Don’t Make Us Happy Anymore Review | Yashasvi Juyal라이브 바카라 Short Doc Folds Epic Time Between Loss-strewn Letters

There can be distinct, fresh ways of telling an old story. Displacement, injustice, losing home and yet clasping onto shreds of it, the price of development—these concerns have had both central and glancing presence in narratives. Yashasvi Juyal라이브 바카라 short documentary Rains Don’t Make Us Happy Anymore, premiering at Visions du Réel International Film Festival 2025, riffs on them but with fascinating slants. Through textures, impressions and snatches, it travels in languid spaces between the granularly observed and vaster energies. Juyal라이브 바카라 film is a spiritually burnished, subliminal call of reckoning with spaces that have been wrenched from our grasp. How do we make the act of remembering those lost places one of vital refusal?

As with his earlier short, The Last Rhododendron (2021), Juyal라이브 바카라 work is richly earth-bound and enmeshed with community, reflecting an intimate affinity for spaces, landscapes and scanning what lies within. Loss, foregoing the dearest of spaces, the winds of change that may keep us uprooted forever—these underpin his cinema. But in his latest film, Juyal comes across as more liberated, almost as if he라이브 바카라 ready to leap off the ground. Playful inserts perforate some images, situating the forced rupture at the heart. Rains Don’t Make Us Happy Anymore is more metaphysical, unbound than heavily narrative, floating and bending across an abandoned land. Its angles are more oblique but display a new spirit of formal confidence, an ability to knit together varied evocations into a simmering whole. A man (Dheeraj Kumar), who stayed behind, becomes its elegiac chronicler; his letters to a woman who라이브 바카라 left long back (Pushpa Rawat) frame our entry into this ghostly tale.

There라이브 바카라 a mythic power to Juyal라이브 바카라 telling. It is spectral, drifting and yet fully locks in what라이브 바카라 been happing on ground. As rooted Juyal is in the contemporary moment, he라이브 바카라 plumbing something more ancient and timeless here. Recounting is a politically loaded act to stave off oblivion. Our memories cannot be wholly erased.

This land, the village of Lohari in Uttarakhand, is visited by much violence—its contours ripped through. It라이브 바카라 been brutalized in the guise of reshaping, to be more amenable to development deals. But what about the human cost? Like with any ‘development’ project, the land라이브 바카라 residents seem wholly unaccounted for, simply trusted to vanish the minute the territory comes under grabs or is seen as a new ground for infrastructural overhauls.

Rains Don’t Make Us Happy Anymore is suffused with a sense of the haunted. People may have been pushed out from their homes in the crisis, but their stories and voices hang in the air—aching, hopeful and nostalgic. An anecdote of workers crushed by a collapsing bridge interweaves devastation and grief with the desperate resilience and stubborn hopes of the few, who’ve been huddling at a school for two years since eviction orders first came in 2022.

Where라이브 바카라 rehabilitation? There라이브 바카라 none—only absolute abandonment by the government that just thrust JCB bulldozers tearing into the land flooded by the reservoir built for hydro power. It라이브 바카라 said the dam supplies electricity to half of a state, but what of the village itself?

Epic cycles are invoked in letters—gods and demons, fate and punishment. The film라이브 바카라 tone is draped in a fable-like scent, moving from the intimate to that which straddles eons. To any native of the village라이브 바카라 Jaunsari tribe, lore/myth becomes a pivotal interpreter of their trajectory, the ways in which their lives turn, for better or worse. The past can’t be elided; it has much to bear on the present, though the accent of change may differ. Fables are languages to read destiny; it라이브 바카라 loaded with that charge. “The gods are angry with us,” the man insists. Is this misery divine wrath? This was where weapons were said to be built, only to be later on disposed on the pretext of them being ineffective.

Rains Don’t Make Us Happy Anymore is as hushed as it is sweeping, inching into specks on a photograph. Dipesh Manral라이브 바카라 camerawork and Ankit Thapa라이브 바카라 sound design fuse to deliver an experience that라이브 바카라 mystically both embodied and elusive. Rippling long shots often punctuate with harsh industrial sounds. A particular shot of a boat cutting through shimmering waters almost arrests this film라이브 바카라 currents. We feel like spectators kept at an objective, externalized remove. Yet, Juyal simultaneously slips us into the skin of his saga, shaded by its own certain defiance. There라이브 바카라 yearning in this documentary—soft, plaintive nevertheless adamant and fierce. It insists gently but we cannot undermine its tug. Doleful yet lambent, Rains Don’t Make Us Happy Anymore channels dislocation through an experiential, embedded lens.

Rains Don’t Make Us Happy Anymore premiered at Visions du Réel International Film Festival 2025