SUNITA – A Technically Assured Film with Uneven Storytelling

Sunita traces the life journey of Moirangthem Sunita from a young age, when she loses her eyesight, to her determined efforts to live life on her own terms despite her visual impairment.

The film follows her pursuit of interests and ambitions – learning taekwondo, participating in sports, engaging with music, and continuing her education- refusing to let disability limit her aspirations.

As the narrative progresses, Sunita becomes a mother of two, navigating marriage, responsibility, and emotional betrayal. The film ultimately focuses on her decision to stand up for herself, choosing dignity and independence by divorcing her husband and reclaiming control over her life.

At its core, Sunita is driven by a sincere intention and a socially significant real-life story. The film deserves appreciation for attempting to capture a long, layered life journey rather than isolating a single incident. However, while the subject is emotionally strong, the film’s storytelling struggles to maintain consistent engagement throughout its runtime.

One of the film’s most notable achievements lies in its technical quality. For nearly two and a half decades, Manipuri cinema has largely failed to develop a strong cinematic visual and sound language, with only a few exceptions such as Mami Sami (2008) and Oneness (2024).

In this context, Sunita stands out clearly. The film shows a conscious investment in camera and sound, placing it among the limited number of Manipuri films that feel visually and technically worthy.

The cinematography by Nihal Bandari is thoughtfully executed. The camera work adds clarity and texture to the narrative. The sound design by Nabapan Deka is another strong pillar of the film.

The audio quality is clean and immersive, supported effectively by Abhilekh Boruah’s work as the location sound recordist. In an industry where sound often weakens otherwise sincere films, Sunita sets a positive example. Gopi’s background score is minimal and supportive, used where needed without overpowering the scenes.

Narmada Shougaijam delivers a sincere and emotionally grounded performance in the lead role. She portrays Sunita with dignity and quiet strength, allowing the character’s journey to unfold naturally. Her performance holds the film together, especially during moments where the narrative loses momentum.

In the supporting cast, Khekhe Leihaothabam is effective as Sunita’s husband, delivering a natural and believable performance without exaggeration. The editing by Hiranmoy Gogoi keeps the film coherent, though the uneven pacing stems more from the screenplay than the edit itself.

The film’s shortcomings lie in the direction and screenplay by Ajit Yumnam. The narrative lacks consistency, with several scenes feeling underdeveloped while key emotional transitions are not explored deeply enough.

This results in uneven pacing, causing the film to slow down and lose engagement in parts. Instead of building emotional momentum, the story often moves in a flat rhythm, making certain stretches feel longer than necessary.

A particularly weak writing choice appears in the way Sunita’s awareness is portrayed. Despite being shown as an educated and active woman, the film suggests that she is unaware of the existence of a special school for visually impaired children until she meets another blind person who informs her.

This moment feels unconvincing and affects the credibility of the character, pointing to gaps in research and narrative logic. Such moments reduce the realism the film otherwise aims to achieve.

One sequence that briefly breaks this monotony is the song “Mangal Ama Phangjare,” sung by Loijingkhombi. The song lifts the film’s tempo and provides a welcome change in rhythm, reminding the audience of the emotional energy the film could have sustained more consistently.

The make-up by Dabo Wangkheimayum is natural and effective, supporting the film’s grounded tone.

Sunita earns a 3-star rating out of five, primarily for its strong technical quality and committed performances. While inconsistent direction and an uneven screenplay prevent it from reaching its full emotional potential, the film remains a sincere and technically sound effort.

It stands as an important step toward more visually and technically confident filmmaking in Manipuri cinema, even as it highlights the need for tighter and more focused storytelling.

Film Review: Sunita ⭐⭐⭐☆☆ (3/5)

Director: Ajit Yumnam | Producer: Brojen Yumnam | Skyline Pictures

Rinku Angom

Rinku Angom is a budding film researcher and critic from Manipur with a background in Public Relations and Advertising. Passionate about regional and independent cinema, he explores the cultural, social, and political narratives in Manipuri films, bringing a nuanced voice to emerging film criticism.