In the heart of Kolkata, where the glittering chaos of the city collides with forgotten corners of the streets, Mon Potongo (Mind Flies) unfolds like a modern fable — poetic, political, and painfully human.
Directed by Rajdeep Paul and Sarmistha Maiti, this Bengali-language drama tells the story of two young lovers from opposite faiths — Lokkhi, a Hindu girl, and Hasan, a Muslim boy — who escape communal violence in their village and land up on the pavements of the city. Homeless but unbroken, the pair finds solace in each other and in a shared dream: a majestic armchair displayed in a nearby furniture showroom, unreachable but hypnotic. For them, it becomes more than just furniture. It becomes a throne — a symbol of power, dignity, and the life they’ve been denied.
What begins as a tender romance soon deepens into a story about ambition, class, and the thin line between aspiration and obsession. The couple pledges to rise above their station, but as they chase that dream, they find themselves pulled into Kolkata’s dark underbelly — brushing against the elite, the criminal, the corrupt. The throne they once dreamed of begins to cast a longer, darker shadow.
This is not a tale of easy victories. It’s a story where dreams have weight, and where love is tested not just by society, but by the very fire of desire that fuels it.
A Visual and Emotional Triumph
Cinematographer Rana Pratap Karforma frames the film with both intimacy and grandeur. Vibrant colours splash across the screen — from the sunlit streets of north Kolkata to the neon-lit interiors of night-time ambition. Every frame feels alive, filled with detail and emotional texture.
The performances are equally striking. Subhankar Mohanta and Baishakhi Roy, both newcomers, bring raw intensity to their roles. Their chemistry is unforced and magnetic, capturing both the innocence of young love and the deep weariness of survival. Their eyes often say more than dialogue ever could.
Seema Biswas, Joy Sengupta, and other seasoned actors offer solid support, but it is the central duo that carries the film’s emotional weight.
Beyond Romance: A Mirror to Society
At its core, Mon Potongo is about desire — not just for love, but for place, power, and identity. The armchair in the showroom is a simple object, yet it becomes a haunting symbol: of what society withholds, of what people are willing to trade for success, and of how ambition can either liberate or consume.
The film doesn’t preach. It observes. It lets its characters stumble, grow, make hard choices. It reflects a city — and a country — where religious divisions still dictate destiny, and where the poor are always looking in through glass, never quite allowed inside.
Directors Paul and Maiti, who previously explored fear and confinement in Kalkokkho, offer a more vibrant yet equally layered vision here. They understand the beauty of small moments and the devastation of broken promises.
Awards and Applause
Premiering at the 29th Kolkata International Film Festival, Mon Potongo walked away with the Best Bengali Film award in the Panorama section. It later earned multiple Filmfare Bangla nominations, including Best Story and Best Critics’ Film, and took home awards for Best Debut Actor (Male and Female).
Critics and audiences alike have praised the film for its emotional depth, political relevance, and stunning visuals. It’s a rare example of a love story that’s both grounded in realism and elevated by lyrical storytelling.
Final Thoughts
Mon Potongo is not just a film — it’s a journey into the beating heart of a city, a love letter to the powerless, and a cautionary tale about chasing dreams in a world stacked against you. It reminds us that desire can give us wings, but it can also burn us mid-flight.
