IMDb > A Death in the Gunj (2016)

A Death in the Gunj (2016) More at IMDbPro »

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Konkona Sen Sharma
Disha Rindani (additional screenplay)
View company contact information for A Death in the Gunj on IMDbPro.
Release Date:
2 June 2017 (India) See more »
Life for a shy young Indian student slowly falls to pieces during a family road trip. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
Exquisite See more (17 total) »


Chandram Bhagat ... Maniya's Friend

Gulshan Devaiah ... Nandu

Kalki Koechlin ... Mimi
Shimanti Kumari ... Manjari's Friend
Canteen Majid ... Mr. Curney
Vikrant Massey ... Shutu
Utam Mishra ... Post Office Clerk
Ashok Pathak ... Maniya
Promila Pradhan ... Purnima

Om Puri ... O.P. Bakshi, Uncle

Jim Sarbh ... Brian

Aparna Sen ... Shutu's mother (voice)
Arya Sharma ... Tani
Nina Sharma ... Mrs. Mckenzie

Tillotama Shome ... Bonnie

Ranvir Shorey ... Vikram

Tanuja ... Aunty, Anupama Bakshi (as Tanuja Mukherjee)
Kitty Texeira ... Kitty
Virginia Vacho ... Mrs. Curney
Saraswati Devi Wishkarma ... Manjari

Directed by
Konkona Sen Sharma 
Writing credits
(in alphabetical order)
Disha Rindani  additional screenplay
Konkona Sen Sharma 

Produced by
Ashish Bhatnagar .... producer
Raagii Bhatnagar .... producer
Abhishek Chaubey .... producer
Smriti Jain .... executive producer
Madhulika Jalali .... line producer
Gaurav Mishra .... executive producer
Neil Patel .... co-producer
Vijay Kumar Swami .... producer
Honey Trehan .... producer
Original Music by
Sagar Desai 
Cinematography by
Sirsha Ray 
Film Editing by
Manas Mittal 
Aarif Sheikh 
Second Unit Director or Assistant Director
Heeral Gandhi .... second assistant director
Chetana Kowshik .... first assistant director
Sound Department
Abhinav Agnihotri .... associate re-recording mixer
Afsar Baig .... boom operator
Ateesh Chattopadhyay .... sound editor
Dhruv Parekh .... associate re-recording mixer
Akshay Patil .... associate re-recording mixer
Bhaskar Roy .... re-recording mixer
Kunal Sharma .... sound designer
Santosh Verma .... location sound recordist
Varun Visoi .... foley recording
Visual Effects by
Ram Dhumne .... Compositing Head
Anshul Mathuria .... visual effects supervisor
Camera and Electrical Department
Parnil Vishwasrao .... making of
Parnil Vishwasrao .... photographer
Casting Department
Taran Bajaj .... associate casting director
Akash Mishra .... casting associate
Editorial Department
Aaron Caeiro .... assistant editor
Prathamesh Chande .... assistant editor
Arnav Das .... assistant editor
Sumeet Kotian .... associate editor
Other crew
Rimal Arora .... production coordinator
Atul Mongia .... acting workshop director
Sameer Kumar Sharma .... Creative executive
Vishal Srivastava .... Making of Content Writer & Post Supervisor
Kireet Khurana .... special thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Самоубийца" - Russia
See more »
110 min
Aspect Ratio:
2.35 : 1 See more »

Did You Know?

Ranvir Shorey who plays the role of Vikram is the real ex-husband of the director Konkona Sen Sharma.See more »
Jiri Jiri See more »


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15 out of 18 people found the following review useful.
Exquisite, 13 June 2017
Author: Bijaya Biswal from India

The ground for a death is set already when the scene opens in a city trembling in peak winters. The tired sun that cannot decide if it wants to rise, the insects already stocking their nests and ready to hibernate, the orchestra of cicadas that blends easily in the suspicious eerie silence of the evenings, the absence of roses and the long purple nights. In such a set-up the only noise that rips the slumber of the forest apart is the loud laughter of a happy family. The perfect family with rotund bellies feasting on meat and wine, slyly rubbing bodies against each other in jest, and like every other family, unable to keep track of the share of love every member is receiving.

It's easy to feel left behind in a world disheveled by adults. Where youth is thought to be coped up with only by a compensatory adrenaline rush, sex is but a form of hospitality, and children and servants are defamed outcasts for just not being alike. Amidst these artificialities, humble "Shuttu" draws dreamy figures in his diary, takes interest in dead moths and the funeral of ants, befriends his six year old niece Tani and vehemently resists metamorphosis. His brother Nandu like most elder siblings, puts him through helpful tests to man him up(driving, planchettes, kabbadi) but Shuttu is already a man with his weak arms but a muscular heart that can carry immeasurable weight. He is the re-incarnate of Franz Kafka, sniffing for traces of love in his dead father's sweaters and his seductive muse's white ankles and the melancholy of his wailing mother. The film brings back to my aching mind a nostalgia of theatrical plays, where the characters were the fodder and story but a resource, rather than the other way around. Nandu's wife, "Bonnie" and mother,"Anupama" are an accurate reflection of the legacy of homemakers; dreamless eyes, unquestioning obeisance, and principled Elizabeth Bennets always in- charge of too much to be done. Vikram(Ranbir Shorey) is the perennially candescent splinter and Mimi(Kalki) is the moth dancing in its flame. O.P(Om Puri's character) has drunk blood-shot eyes and a jovial persona which often confuse his grand-daughter for a tortoise and dismiss the bruises under Shuttu's eyes as child's play. Tani is a young and curious fluttering butterfly who just broke out of her cocoon. Maniya and Manjuri, the domestic helps, are observers of the building up of crime which in this movie, is neither an accident or event, nor a well-hatched conspiracy, but a sudden condensation of reality.

The timeline of growing up is riddled with tough milestones to surpass. The degradation of parent's narrative from "are you facing a problem we don't know about" to " what is the problem with you", bodily changes, the political intrusion of lust and control in relationships and the devaluation of childhood dreams which are too much for a heart which still has not grown anesthetic to pangs of betrayal and dishonesty. As Shuttu tries to brush through these and more, he watches little Tani with wet eyes who would soon be stepping into this war too. A war which is endless and perpetual, called adulthood, where the temporary campsite on the battleground is supposed to be your permanent home. Where defeat is inevitable but the contest is about who can survive longer.

With this debut, Konkana Sensharma blurs the lines between a book and a movie, unveils how modern art is about context rather than content, undresses the guilty faces of families where it is surprisingly easy for someone to not matter at all. By the end, I wished if the movie could be longer and I was given more time to build intimacy with the characters of Mimi or Vikram to know what went into the making of their lustful, unconquerable and ambitious hearts. But alas, a movie could only be a window to another world and not a door, an excerpt of an unending saga which is still happening behind the closed walls of silent homes and secluded hostel rooms, a crime that is taking place without any blood dripping which no one knows about now, no one will figure out the reason behind, but everyone will blame themselves for.

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