QISSA rightly showcases the ugly Indian psyche of a family being obsessed with only sons instead of daughters for many obvious reasons. Set in the post-independence era the subject still remains relevant in India and more specifically for regions like Punjab, where Girl foeticide is one of the key problems even in this much educated and more aware society of the 21st century.

A bold plot for Punjabi as well as Indian Cinema, QISSA certainly gives you the feeling of watching something brutally honest that has never been tried before here with such impactful intensity. Yes, it does remind you of the masterpiece from Pakistan titled BOL as far as the obsession for a son is concerned, but then finds its own individual path different from the one witnessed in that 'not to be missed gem' to clear the visible doubts.

Directed and co-written by Anup Singh, it's a disturbing tale of an eccentric father Umber Singh who after having a fourth girl in the family doesn't want to kill her but forces her to grow up, dress and behave like a boy only, ignoring all her bodily changes happening with the time in a much weird manner. The film begins with the bloody event of our Partition when the family has to shift to the Indian part after losing everything they had. And then focuses on the relationships alone going through many unexpected twists and turns leading to a serious shock coming just before the intermission as a director's master-stoke. The second half brings in a strictly unexpected supernatural turn for the viewers making the film a bit slow and sad too, taking away the hold it displayed in its initial hour especially for the common man sitting in the theater not able to grasp the multi-layered projection ending on a more thoughtful note.

In other words, despite being a visual cinematic experience, a first of its kind - bold subject in Indian films having a well-conceived (unusual) storyline and all brilliant performances, QISSA arguably remains more appealing to a specific section of viewers only appreciating the meaningful cinema as personally experienced watching the film in theater with some 30 odd Punjabis, who probably had only come listening the word 'Partition' and seeing 'Irrfan Khan playing a Sikh' in its promos as I strongly felt.

Having said that, I was really glad to see that even though the film was not about anything those 30 Punjabi speaking people had come for, it still successfully kept them engaged to its unique storyline in its first half, wherein they were all simply awestruck watching its twisted lead character and his insane intentions worrying more about the society instead of his own family.

However the scenario wasn't the same post intermission with the 'ghost component' thrown in (slowing down the pace to a large extent) which actually couldn't impress anyone among them and they began showing the restlessness by chatting loudly and checking their mobile phones shining bright in the almost empty theatre. The complex philosophical metaphors in the film's second hour couldn't reach them as desired missing the emotional connect and I even heard one in the group clearly categorizing the project as an "arty festival film – not for them".

Now talking about the brave attempt from the other technical & cinematic perspective, its indeed a well-shot, splendidly conceived and superbly acted film having an unconventional plot probably inspired from some true life events as it seems. The writer-director is able to write his poetry on the screen with the help of all fabulous performances from a well-chosen cast that actually owns the film from the front. Irrfan Khan (as Umber Singh) playing the eccentric wicked father performs the bizarre act convincingly, though one feels his Punjabi accent a bit compromising in some particular sequences. The exceptional actor actually wins you over completely in the first half much more than the later due to the reasons mentioned above. In fact the best part of his portrayal is that you never hate him for what he does to his family since he also loves them all from heart despite having that society- oriented wish to have a son.

Tillotama Singh (as Kanwar – the son/daughter) is equally effective as the suffering girl coming out of her shell towards the end playing it soulfully. Her cross gender act looks deliberate at first but then sinks in as the film progresses towards a more moving climax focusing on the two girls. Rasika Dugal (as Neeli) is simply outstanding playing it expressively as the innocent one standing in between the father and his son/daughter. Plus Tisca Chopra underplays the weak mother perfectly who is not able to protest against her husband's impractical moves as a typical Indian lady suppressed by her own upbringing.

Cinematography, background score and the soundtrack beautifully capture the right mood and essence of the tough subject pulling you into the world of its torn family. And few particular scenes don't easily get off your mind like the one where Umber Singh catches Neeli running away at night and then Kanwar baring her naked body to everyone passing by in despair.

Further, though beginning from the time of India's Partition, QISSA has nothing to do with the historical land partition in details. But it does deal with the sick partition in our minds thinking about a man and a woman or a son and a daughter as two unequal social identities with one owning the other even in this present so-called evolved society.

Qissa is a visually stunning film with multiple concurrent themes running through it, ranging from patriarchy, partition, parochialism and even briefly same sex relationships. Partition was vividly depicted in a more sensitive way than I've seen before on screen. The film turns out fine performances from an array of actresses including Tisca Chopra and Tillotama Shome. It's also probably no coincidence that Irrfan Khan, a Muslim, was cast in a Sikh role; something that adds an unspoken gravitas to the part of Umber Singh given the historical context. The multiple scenes shot around wells will resonate with any person whose family was scarred by the partition of the Punjab; from either side.

The presence of German funding is evident (although India's NFDC are part-funders); this is an independent non-commercial drama with a visible budget behind it. This lends an almost epic feel to some of the earlier scenes that would have been surely lacking without the European financial input. The score, by a French composer I believe, is excellent and an integral part of the film; although heavy on Indian motifs, it sounds decidedly un-Indian in structure. That's not a criticism, rather a refreshing bonus for the film that benefits from its soundscape. The music is also suggestive and never overpowering. The two vocal tracks are from the outstanding Nooran Sisters, Punjabis themselves, with thankfully no mainstream Bollywood singers in sight.

As always Khan delivers an impeccable performance although the character does come across as one-dimensional at times; probably more to do with the script that his actual performance. The stand-out performances come from Shome as the 'son' Kanwar, and Raskia Dugal as his gypsy wife, Neeli. The chemistry, friction, pain and ultimately tenderness between these two is the highlight of the film. I would argue that Raskia Dugal almost upstages the other leads with her brilliant performance, particularly in the later scenes where the couple have fled their home. Kanwar's confusion also comes across as genuine, a credit to Shome's portrayal in a difficult role, while the nude scene, a critical part of the plot- is sensitively handled.

My criticism of the film comes with the 'ghost' scenes; had the English title of the film not had "The Tale of a Lonely Ghost" appended to it (an unnecessary expanded titling, in my opinion); the initial scenes where Khan returns are momentarily confusing. It's not clear if he is a ghost or not, although that ambiguity may be intentional- or possibly I was a bit slow to pick up on it despite seeing his apparent demise earlier. Although parts of the film come across as dream-like, these initial ghost scenes don't and for that reason it's unclear if Kanwar is imagining Khan's appearance or not. These are minor points in an otherwise good film though, but the film still throws open many questions such as who and why where others complicit in the deceit, and why did the mother not put up resistance to the charade, amongst others.

This is the kind of film that will do very well at film festivals, and deservedly so, but is probably too complex and intelligent for wider mainstream appeal-- in say a way some more accessible Deepa Mehta films would. It will be interesting to see what reception the film receives when it is ultimately released in India.

Director Anup Singh has done a good job of bringing to life an intricate story that is unlike any other recent Indian film out there. Recommended.

A well-written script with an honest performance by the cast, the story telling has an Indian folk tale touch.

Tillotama Shome is great with her performance, the scenes with the mother and father are perfect and heart touching, and it is because of her performance that this movie comes out as a subtle art film rather than a Yash raj melodrama.

The movie talks about the how the desire of having a boy child was prevalent in the past and to what level the people can be obsessed with such pity things and destroy their and others happy peaceful life.

Do watch and support the movie, the movie perfectly encapsulates the sense of an Indie classic(that is a new story line) and not an artificial work like "ship of Theseus".