Oneness: The Film That Dared to Say What Manipur Silenced

Last Updated on June 26, 2025 by SPN Editor

ONENESS begins not with noise, but with silence — the kind that echoes through grief, memory, and undying love. In the quiet of a misty cemetery, Pamheiba (Suraj Ngashepam) walks with a bouquet of red roses — Ivan Martin’s (Priyakanta Laishram) favourite, something he never received in life. What initially feels like a gentle tribute slowly unfolds into an emotional gut-punch: today marks their anniversary, but Ivan now exists only in memory. As Pamheiba stands beside his lover’s grave, the screen fades to black and the title ONENESS appears, already leaving the viewer shaken.

From this poignant opening in 2018, the film cuts back to 2012 — to joy, innocence, and the beginning of a love story fated to endure storms. Pamheiba surprises Ivan in a hotel room for their first anniversary, but what should have been a quiet celebration becomes the starting point of a turbulent journey. Their relationship, once private, is thrust into the harsh light of scrutiny, and from there unfolds a story of exposure, familial opposition, and social backlash.

The film also unravels the ugly truth of conversion therapy — a deeply harmful and still widely practiced method of forced “correction” that is largely silenced and swept under the rug. By addressing it head-on, ONENESS not only confronts its psychological brutality but also underlines its continued existence as a hidden, unspoken form of violence that queer individuals still face across India today. Ivan’s conservative Christian family — father Peter Martin (Harendra Laishram), brother Daniel Martin (Sachinker Sagolsem), mother Anna Martin (Maya Choudhury), younger sister Mersia Martin (Ramva Leishangthem), and close friend Mary D’Souza (Yaiphabi Toijam) — become central to this emotionally layered narrative.

Yet amid the darkness, the film shines with moments of quiet defiance and resilience. Ivan refuses to be broken. Anna, initially silenced by patriarchy, finds her voice — and with it, her freedom. She begins to chase her own dreams, inspired by her son’s unwavering courage. The young lovers meet again in secrecy, speaking of the future — children, family, a world that might one day embrace them. But life, often unpredictable, takes a different turn — one that is as unforgettable as it is heartbreaking.

Without giving away the full weight of its climax, ONENESS returns us to 2018, to the same cemetery, now joined by Anna. She lays a second bouquet of red roses — a silent apology, a mother’s love, a promise fulfilled. Her final words, “I love you, my son. See you soon on the other side,” leave the audience devastated.

But the red roses themselves carry a meaning that lingers far beyond the screen. They are not merely Ivan’s favourite flower; they are a haunting symbol of everything he was denied in life — tenderness, dignity, safety, and the simple joy of being loved without shame. Their recurring presence throughout the film reflects an ache for what could have been.

When Pamheiba and Anna both place bouquets on Ivan’s grave, the act becomes a quiet revolution — a merging of grief and acceptance, of love lost and love reclaimed. The roses come to embody the very essence of Oneness — love that transcends boundaries, and the memory of those who once dared to love openly in a world that punished them for it.

Written, edited, directed, and sound designed by Priyakanta Laishram, ONENESS marks his bold and unforgettable debut feature film. As a first-time feature director, Laishram delivers a cinematic voice that is self-assured, emotionally intelligent, and unwavering in its conviction. He crafts the film with empathy, choosing internal emotional truths over surface-level dramatics. There’s a remarkable maturity in how the narrative is structured — nonlinear, but fluid — and a striking confidence in how the characters are allowed to breathe within their silences. What’s particularly commendable is Laishram’s ability to hold space for tenderness amidst trauma. His direction makes room for both the personal and the political, without ever reducing the characters to mere vehicles of message. The result is a film that not only tells a story but feels like lived experience.

Priyakanta Laishram himself steps into the lead role of Ivan Martin — a decision born not from ambition, but necessity. Laishram spent over eight months trying to cast an actor willing to play the role of a gay man with dignity and emotional honesty. When no one agreed to take it up, he made the difficult choice to cast himself — a choice he has repeatedly acknowledged in interviews as one he was forced into. But sometimes, everything happens for a reason. Watching ONENESS, it becomes clear: no one else could have embodied Ivan the way Laishram does. His performance is raw, intimate, and devastatingly human. He captures Ivan’s defiance, warmth, and fragility with remarkable control, never slipping into performance for performance’s sake. Laishram internalises Ivan’s pain — it lingers in his eyes, in his posture, in his silences.

Opposite him, Suraj Ngashepam as Pamheiba Hijam offers a grounding presence. His portrayal is quiet yet resonant, carrying the weight of grief, love, and loyalty across time. Together, their chemistry is intimate and raw — the kind that doesn’t need words to feel real.

Maya Choudhury as Anna Martin stands out in one of the film’s most transformative arcs. Her journey from a complicit, silenced mother to a liberated woman embracing her truth is performed with measured restraint and emotional potency. Her final scene at Ivan’s grave is among the film’s most memorable moments.

The ensemble cast is equally committed: Harendra Laishram as the rigid father Peter Martin, Sachinker Sagolsem as Ivan’s conflicted brother Daniel, Ramva Leishangthem as the empathetic sister Mersia, and Yaiphabi Toijam as the ever-loyal friend Mary D’Souza — each brings nuance and emotional credibility to their roles, rounding out a believable and emotionally gripping family dynamic. Also worth mentioning is Rojesh Saikhom, who plays Pastor John — a figure embodying the religious dogma that contributes to Ivan’s trauma.

The screenplay — also by Laishram — is poignant and uncompromising. It doesn’t pander, nor does it romanticize trauma. Instead, it offers a brutally honest depiction of how love, when placed under the scrutiny of societal, religious, and familial expectations, becomes both a source of hope and tragedy. Adding to the film’s emotional gravitas is the cinematography by Boong Konjengbam and Ibomcha Irom and the music — composed by Noel Malekar, Whitesand Music, and S. Buckley — underscores the emotional arc.

Set against the socio-political backdrop of Manipur, a region where queer voices are still heavily marginalised, the film dares to speak the unspeakable. It challenges institutionalised religion, unspoken family hierarchies, and the persistent shame culture around queerness — without ever losing sight of its central focus: love.
In a region where queer narratives are rarely portrayed with depth or dignity, ONENESS arrives as a landmark film. It is the first Manipuri film based on same-sex relationships — a feat that is both revolutionary and necessary. That it emerged from within a system that long denied space for such stories makes its existence even more significant.

Produced by Roushil Singla and Priyakanta Laishram under Priyakanta Productions, the film sets a new precedent for what Manipuri cinema is capable of. It pushes boundaries — artistically, socially, and emotionally — and in doing so, lays the groundwork for more inclusive storytelling in the future.

ONENESS is not just a debut film. It is a cinematic statement — deeply personal, socially urgent, and artistically assured. Through its layered storytelling, powerful performances, and fearless direction, it doesn’t just tell a story about love. It becomes love’s elegy and its rebellion. In a fractured world — and a fractured society like ours — ONENESS dares to imagine healing through truth, acceptance, and above all, through remembrance.

This is a film that will stay with you — not just for what it says, but for what it dares to feel.

★★★★☆ (4 out of 5 stars)