It is a harsh reality that this world isn’t meant for childish spirit. No matter where you live, there are social norms that will frown upon a rich girl falling for a penniless waiter, even if he is the one that saves her.
Nayantara (Bhabna), has escaped the prospect of an arranged marriage, to a different country in the hopes of finding her calling even though the job market is cutthroat and degree holders are unemployed.
She lands in a hotel, where she meets the sassy Muku (Parambrata), and one can feel the tension right away. While she’s still making up her mind about this man, Muku saves Nayantara from being raped by a local thug.
Up until this point, the story of Voyankor Sundor follows the tried and true masala script of Evil Rich Daddy vs Penniless Hero. The protagonists fall in love, move in together and Muku finds a job. Nayantara’s parents arrive and predictably object to the match, but she defies them and marries Muku anyway, and together they try to build a life together. And that’s where the real story begins.
Something Dhaka residents will find familiar, happens. The place where the lovebirds live is hit by an acute crisis of water. Muku and Nayantara go from door to door seeking some water, but are coldly turned away, until they find a water source where women go daily to collect their H2O.
When Nayantara goes to collect water wearing her rich-girl clothes, the locals jeer at her and turn her away. The immediate crisis is averted, but a traumatised Nayantara begins to hoard water for the future, with vengeance on her mind. Sure enough, when water shortages hit the locality a year later, our protagonist has stocked up on enough water, but is now refusing to share with anyone. The desperate neighbours attack their home and take the water anyway.
Voyankor Sundor, the second feature film by Animesh Aich is an adaptation of a novel by Moti Nandi, intended to be a commentary about class divides as well as resource shortage. While the characters were perfectly cast, and the craft of the film seems water-tight - the overall storytelling leaves something to be desired. The metaphors presented in the story seem to be a bit weak, and even the capable cinematography by Khair Khandaker cannot distract from the flaws.
Is this one a hit or a miss? The audience can decide.