Biriyaani: The Politics of Patriarchy Within Religion


Sajin Baabu has made something abnormal and wondrous with Biriyaani. The movie which is released on the Cave OTT platform is loaded up with the logical inconsistencies of life. The title may allude to networks where ladies are dealt with like scrumptious pieces of meat.

Undoubtedly, the main scene has a man (a Muslim) mounting his significant other with insufficient respect for her fulfillment. What she does somewhat later demonstrates the sort of lady she is. But then, this demonstration of affirmation (or lady power) doesn't generally characterize her.

By all accounts, you may consider Biriyaani a vengeance dramatization. However, it additionally questions the actual idea of vengeance: "Should wrong demonstrations be adjusted with additional wrongs?"

This is a film that destroys ordinary "account curves" and "character circular segments". People do things randomly, so we get fragments of events and fragments of behavioral traits that all add up to why Khadeeja (Kani Kusruti) is the way she is.

Kani Kusruti’s Spectacular Performance

Her eyes are monster pools of destruction, implanted even with a lady who has, it appears, been depleted of all inclination. Or then again has she? Her vacant articulation makes it even more observable when feeling incidentally traversed that generally empty, dulled face.

A trace of a phony grin, a glimmer of real warmth, a brief look at adoration and yearning, fear and, on only one event, a tempest of despondency. There is so much to say about Sajin Baabu’s Biriyaani, but above all else, those eyes are belonging to actor Kani Kusruti who plays the protagonist.

Kani’s exhibition as Khadeeja has legitimately procured various honors in India and abroad, including the esteemed Kerala State Film Award for Best Actress 2020. Her talking eyes are pretty much as strong as the story, making Biriyaani perhaps the most interesting Indian movie arranged for a dramatic delivery.


Contrasting Biriyaani With the Great Indian Kitchen

Similarly, as The Great Indian Kitchen's adukkala (kitchen) is an allegory for male-controlled society, in Biriyaani the nominal dish turns into a portrayal of people reductively regarding individual people as pieces of tissue.

To be utilized, manhandled, and disposed of, like simple things in a news cutting, as people of revenue in a police examination, as opposed to living animals with assessments and wants of their own.

Explicit Scenes

The realistic opening scene of a sexual experience among Khadeeja and her better half (Jayachandran) — more express than Indian film is utilized to — establishes the vibe for the brutal treatment that different characters distribute to her through the remainder of the account.

Nazeer isn't having intercourse with his better half, he is a monster who has mounted the closest accessible homo sapien female, and whenever he is satisfied, is sickened with her for needing more.

Her demonstration of disobedience at that point catches the center of this lady who is ambushed yet at the same time not completely dampened. The sexual moments in Biriyaani are not intended to tantalize. They are utilitarian, feeling-less, and carnal.

They are not hard to observe, however, not at all like certain different pieces of Biriyaani in which flesh are shown in the most surprising style, shot without any expressions of remorse yet not unwarranted.

A Real-Life Portrayal of Muslim Women in Kerala

Khadeeja's conditions demolish when news breaks that her sibling has joined ISIS. From one viewpoint, she is repudiated by her kin, and on the other, dogged by the police. Left with no cash and a slow-witted mother to really focus on, she sets off on an excursion that eventually prompts self-disclosure and affirmation.

Khadeeja in Biriyaani, notwithstanding, is emblematic of helpless ladies of a gathering of people all the while engaging bad form against and inside the overlap. She was naturally introduced to destitution when she was pulled out of school after Class 10 for marriage.

That too with a more seasoned man, not of her decision, her mother by marriage is disdainful of her since her dad was an angler, and she is Muslim. Her strict character is huge with regards to the Islamophobia as of now swarming India, yet she could well be an individual from any local area under attack.

Sajin Baabu is brave and wise not to deify the marginalized but to hold a mirror up to everyone involved and underline the inconvenient truth that as a woman Khadeeja is focused by those on the two sides of the strict separation.

The all-inescapable Indian haughtiness towards Muslims and ladies as a rule, yet Muslim ladies specifically, is represented here by news TV discussions, with the media roping in reporters to talk about the two gatherings as opposed to requesting perspectives on any semblance of Khadeeja who are being examined.

Notwithstanding the test of seeing those parts, it is difficult to turn away. Biriyaani is excessively persuading, attentive, and incredible to be decreased to this one deed by Khadeeja, and the consequence of that scene is too nuanced to be seen one-dimensionally.

Written by - Jibita J. Binnu

Edited by – Adrija Saha

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