Yeh Woh Manzil To Nahin (This Is Not Our Destination)

Visually the film is divided into three sections: the present, the past and the dreams of the old men. The present is dealt with quite realistically. The past confronts the viewer in spurts and flashes - as incidents essentially, but not totally recalled. The dreams are linked by a common theme but are absolutely loose, apparently unconnected and without a narrative flow to them. In terms of Indian cinema, the point in this film is to weave a complex, socially urgent theme into an apparently narrative framework. Within the
coherence of a narrative, certain departures are attempted. The complex interaction of reality, memory and fantasy merges into a total audio-visual experience. It is not true to say that the Indian viewer only understands an absolutely linear structure. As long as the framework is coherent, and the attempt is not esoterie, he will receive it. And as far as I am concerned, the attempt is not esoterie. (Sudhir Mishra)