Events in Goa

Tribeny Rai’s Shape of Momos Brings Everyday Sikkimese Lives to the Big Screen at IFFI 2025


Written by Tanisha Cardozo || Team Allycaral

At the 56th International Film Festival of India, Sikkimese filmmaker Tribeny Rai’s debut feature Shape of Momos captured attention for its sensitive and authentic portrayal of everyday life in Sikkim. Screened under the Indian Panorama section, the film explores the cultural and emotional landscape of the Eastern Himalayas through the eyes of its women protagonists. Following the screening, Tribeny Rai, producer and co-writer Kislay, and lead actor Gaumaya Gurung shared insights about the film and the Sikkimese film industry at a press conference.

An alumna of the Satyajit Ray Film and Television Institute, Tribeny Rai is recognized for her nuanced storytelling that highlights the lived experiences of women in her region. Shape of Momos, rooted in her personal experiences and cultural memory, represents a journey of both artistic exploration and logistical perseverance. With Sikkim’s film industry still in its nascent stages, the team faced significant infrastructural challenges, including sourcing professional camera equipment from other cities. Despite these hurdles, the film has already been showcased at international festivals, including Busan, reflecting its global resonance.

The title of the film draws from the ubiquity of momos in Sikkim, a food that accompanies both joyful and sorrowful occasions, symbolizing the shared rhythms of daily life. Producer Kislay noted the importance of presenting stories from underrepresented regions like Sikkim without succumbing to stereotypes. He emphasized that the selection of the film at IFFI represents the fulfillment of a long-held aspiration to bring authentic regional voices to wider audiences.

Lead actor Gaumaya Gurung highlighted the significance of portraying a female perspective, something she finds rare in Nepali-language cinema despite her years of experience. She appreciated the film’s careful balance between subjective and objective storytelling, allowing audiences to engage deeply with the protagonist’s inner world.

Distribution remains a challenge for independent regional films, yet Shape of Momos is slated for release across Sikkim, North Bengal, parts of Meghalaya and Assam, as well as Dehradun, catering to Nepali-speaking audiences. Additionally, the film will have a theatrical release in Italy, extending its reach internationally. Tribeny Rai stressed the need for a supportive community of independent filmmakers in Sikkim to navigate these challenges and enhance visibility.

As the first woman filmmaker from Sikkim, Tribeny Rai reflected on the gradual emergence of film culture in the state. Limited resources and infrastructure make filmmaking a formidable endeavor, but there is growing enthusiasm among young Sikkimese film students, many of whom resonate with the portrayal of familiar lives in Shape of Momos. Through this debut, Tribeny challenges the mainstream cinematic lens that often exoticizes the Northeast or reduces it to narrow narratives, presenting instead a story where everyday Sikkimese people are the heroes of their own lives.

Films

‘Second Chance’: Subhadra Mahajan’s Poetic Portrayal of Healing, Womanhood, and the Himalayas


Second Chance is an evocative and quietly powerful cinematic work by Subhadra Mahajan that blends themes of feminine healing, personal resilience, and environmental awareness in a narrative grounded in the raw beauty of the Himalayas. The film, shot entirely in black and white, takes viewers into the soul of a young woman navigating her inner trauma while immersed in the majestic yet fragile ecosystem of Himachal Pradesh.

The story revolves around Nia, played by Dheera Johnson, who retreats to her family’s summer home after facing her first significant emotional trauma. As she isolates herself in the quietude of the mountains, time, nature, and unexpected local friendships guide her toward inner healing. The slow, deliberate pace of the film reflects Nia’s own relationship with time and grief, allowing the audience to truly live the experience alongside her. The film does not rush—because healing does not.

What sets Second Chance apart is not only its emotionally intelligent storytelling but also its stylistic choices. Cinematographer Swapnil Sonawane’s decision to present the film in monochrome elevates the visual impact. Even without color, the landscapes of Himachal Pradesh breathe with life, mood, and metaphor. From forests to highlands, the visuals offer a grounding presence, anchoring the protagonist’s emotional evolution.

Subhadra’s decision to cast non-actors adds an organic authenticity to the film. The locals, with their natural speech and subtle gestures, become part of the narrative’s emotional fabric. Their presence doesn’t feel staged—it feels lived. These characters, many playing versions of themselves, create a community that gently supports Nia’s journey, reminding the viewer that healing often arrives in the form of small, unspoken acts.

The music, composed by Quan Bay, plays a crucial role in deepening the film’s emotional undertone. It drifts in and out like memory, never overwhelming the silence that carries so much weight in the story. Dance sequences are used with care and symbolism, not merely as performance but as extensions of the protagonist’s emotional state—moments when words no longer suffice.

The film, presented by the Entertainment Society of Goa’s Cinephile Film Club and hosted by Sachin Chatte, received a warm and thoughtful response from the audience. During the post-screening interaction, viewers expressed admiration for the film’s sensitivity and its honest portrayal of mental health, womanhood, and climate change without sensationalism. Many hoped the Himachal Pradesh government would support the film, given how genuinely it showcases the region’s culture and ecological reality.

Second Chance premiered at the prestigious Karlovy Vary International Film Festival and has since traveled globally to festivals including Busan, Hamburg, Sao Paulo, Adelaide, and Belfast. Its universal themes of personal growth and the delicate relationship between humans and nature have resonated with audiences worldwide.

This film is not just a story; it’s a visual meditation on second chances—for women, for nature, and for anyone who has ever sought to begin again.