Top Qs
Timeline
Chat
Perspective

Bahuchithawadiya

2018 Sri Lankan film From Wikipedia, the free encyclopedia

Bahuchithawadiya
Remove ads

Bahuchithawadiya (The Undecided) (Sinhala: බහුචිතවාදියා) is a 2018 Sri Lankan Sinhala drama romance film directed and produced by Malaka Dewapriya.[2][3][4] It stars Kalana Gunasekara and Veena Jayakody in lead roles along with Lakshman Mendis, Samanalee Fonseka and Damitha Abeyratne. Music composed by Chitral Somapala.[5][6] This film is Proudly Presented By Alumni Organization University of Colombo.

Quick facts Directed by, Written by ...

in Sinhala language ‘Bahu’ means multiple and ‘Chitha’ means thoughts. ‘Bahuchithawadiya’ simply means ‘one in many minds’ or ‘one who lacks single-mindedness’. In other words ‘an undecided mind’ The term ‘Bahuchithawadiya’ was coined to denote the nature of our youth in contemporary society in Sri Lanka.

It is the debut feature film by Malaka Dewapriya and film has awarded in many film festivals.[7][8] The film received many positive reviews from critics.[9][10]

Remove ads

Plot

Sasitha works as the underpaid delivery man for Giftnet, an Internet-based business which accepts gift orders from outside Sri Lanka. Suffocated by economic pressures and sexual frustrations, like most of his peers he sees going abroad as the only way out of his wretched existence. Fascinated with the idea of "abroad" he forms relationships with the recipients of these gifts, most of whom are rich, lonely women. When the real world starts to look too bleak, Sasitha seeks greener pastures through virtual relationships he builds on Facebook and Skype with Sri Lankan women of his own class, working abroad. But when nothing seems to go right, he grows desperate[11]

Remove ads

Cast

Remove ads

International and local recognition

reviews

Summarize
Perspective

Critical Reception and Scholarly Engagement Bahuchithawadiya has catalyzed a vibrant discursive field, drawing attention from cultural theorists, media practitioners, and political critics. Its enduring resonance across academic, journalistic, and public platforms marks it as a radical aesthetic and philosophical intervention in Sri Lankan cinema. Widely recognized as the fourth major rupture in the national cinematic tradition—after Lester James Peries, Dharmasena Pathiraja, and Asoka Handagama—it reconfigures narrative form, sonic structure, and thematic exploration to interrogate the undecidability of post-war youth identity.

Disillusionment, once etched in Pathiraja’s films, resurfaces here—now refracted through new media, digital intimacy, and post-war alienation. The film’s motifs of meaninglessness, economic precarity, and cyber-mediated longing evoke a contemporary iteration of Pathiraja’s “lost young man.”

As the “Unconventional Student,” Malaka channels Pathiraja’s ideological charge while disrupting his aesthetic discipline. He recasts Pathiraja’s public critique into a grammar of active experimentation—a cinema that attends to the absences, the lacunae ignored or elided by dominant forms.


A New Cinematic Grammar Dewapriya’s debut feature fuses realist mise-en-scène with surrealist fragments and digital interfaces, marking a decisive departure from conventional narrative form. Sasitha, the central figure, is a delivery rider for Giftnet, an online gifting platform catering to affluent Sri Lankan women abroad. His migratory impulse reflects not escapism but an ontological drift—a displacement of existential coordinates.

The film reimagines “abroad” as simulacrum, invoking Jean Baudrillard’s hyperreality, where desire circulates through screens and simulations. Sasitha’s indeterminacy evokes Jean-François Lyotard’s “differend”—a site of unresolved tensions between incommensurable discourses. Torn between economic precarity and digitally mediated intimacy, his psyche encapsulates post-war youth’s quest for meaning amid escalating sociocultural flux.

Thilak Kodagoda’s Ehima Sudumeli Pitapathak (2025) frames the film within a psychoanalytic-Marxist lens, proposing that Dewapriya activates Lacanian critique to renew materialist aesthetics. Kodagoda reads Sasitha as embodying “post-hope melancholia” and argues the film compels a rethinking of spectatorship and ideological engagement. Bahuchithawadiya resists narrative closure and coherence, not just depicting fragmentation but performing it—immersing viewers in the undecidability emblematic of contemporary Sri Lankan life.

Pathiraja’s Realism vs. Malaka’s Fragmentation Pathiraja’s cinema operated within the grammar of realism, privileging long takes and a restrained mise-en-scène. Malaka reconfigures this through jump cuts, non-linear montage, media layering, and acousmatic soundscapes. This disjunctive aesthetic resonates with Lyotard’s “paralogy”—knowledge formed through discontinuity and dissent.


Narrative and Aesthetic Innovation The film’s use of Facebook chats, Skype calls, and digital overlays mirrors Sasitha’s ruptured interiority. Far from ornamental, these devices challenge perceptual norms and interrupt temporal continuity. The opening sequence—composed of high-angle shots of urban architecture during his deliveries—renders a vertical cityscape imbued with isolation and aspiration. Critics have drawn parallels between Dewapriya’s aesthetic and Left Bank cinema, particularly Truffaut’s The 400 Blows, citing its dissonant rhythm and urban melancholy.

Sonic and Visual Architecture Visual composition articulates Sasitha’s disorientation: the city emerges as a spectral matrix of dim corridors and fleeting encounters. The sonic landscape—crafted from ambient textures, digital glitches, and intimate voiceovers—intensifies his psychic drift. This immersive sensory design reflects Dewapriya’s foundation in radio drama and audio art, where sound functions as both narrative vehicle and affective register. The film’s acoustic environment unsettles the viewer’s perceptual frame, mirroring the protagonist’s epistemological fissure.

Malaka’s broader work—especially Malaka’s Ear—explores alternative forms of sonic intimacy and affective critique. The radiophonic body, disembodied yet emotionally resonant, invites readings via Barthes and Chion as a key dimension of his sonic aesthetic.


Citation

"As a debut filmmaker, Malaka demonstrates a distinctive cinematic identity. Upon first viewing, one may well ask: Does this film even need a title? I have seen numerous paintings, photographs, and poems under the name “Untitled”. In this film too, rather than an undecided state or the presence of a single argument or perspective, multiple dimensions of human experience are presented, inviting viewer cognition "Malaka Dewapriya’s film, too, is like a mirror reflecting the spirit of Left Bank cinema—a fragment that resonates with the evolving soul of resistance, ambiguity, and critical engagement" By Dr. Dharmasena Pathiraja [22]

One of the more compelling aspects of Bahuchithawadiya is how it presents the contemporary metropolitan cityscape. In the opening scene, as Sasitha goes on his delivery rides, the camera is turned to the upper floors of the buildings he passes on his motorcycle. Many of the film’s key encounters happen in these upper stories. Unlike in Manhattan or Hong-Kong, the cityscapes we see remind us of unplanned urbanisation" "On one hand, Malaka Dewapriya’s film appears to radically move away from the cinematic generation that preceded him, represented by directors like Asoka Handagama and Vimukthi Jayasundara. In a way, it marks a return to the cinematic discourse of directors like Dharmasena Pathiraja." Prof. Nirmal Ranjith Dewasiri [23]

"Malaka has selected some dull surroundings of the urban working class, lower middle-class, and middle-class settings with a few selective characters to build up his storyline. All the women in the film are seeking a certain kind of stability and security from a male partner, and consequently, most of them try to establish it by adhering to the concept of marriage, following some traditional norms to fulfill the idea of being ‘settled’ and ‘safe’"."The running shots reminded me of The 400 Blows by François Truffaut. The rhythm of the moving camera changes from scene to scene, symbolizing Sasitha’s inner conflict. The cluttered sky mirrors the clatter of lives and the emotional entanglement hovering over people. It is clear that Malaka’s cinematic style is influenced by the French New Wave." "The selective TV programmes—a sermon by a Buddhist monk, a show on astrology, Doramadalawa, a reality show, and the songs (especially the one that plays while Sasitha is on the bus after losing the bike)—all align aptly with the film’s themes. These audio-visual choices illustrate the societal forces shaping the characters’ lives." By Indeewarie Daswatte [24]

One of the most subtly devastating images in the film is the wall inside the delivery office, lined with clocks set to different time zones. Positioned above an obsolete desktop computer, these clocks symbolise more than global reach. They point to a psychic condition: individuals governed by time zones they will never inhabit, haunted by dreams they cannot fulfill. These clocks suggest a dissonance not just in geography but in temporality. Life is lived in perpetual deferral—always elsewhere, always later" "And while the story unfolds on screen—often prompting laughter at Sasitha’s antics and awkward negotiations—the film eventually turns the mirror onto its viewers. The laughter, seemingly harmless at first, can begin to catch in your throat when you realise you are laughing at the bahuchithavadiya in yourself. Because to be human in such a world, shaped by economic uncertainty, rapid technological shifts, and blurred social roles, is to inevitably confront our own undecidedness. The film invites a deeper, uncomfortable recognition -- that we, too, evade our indecision by cloaking it in distractions—work, relationships, status, and the many performances that come with our identities".By Shanilki Yalegama [25]

"From a clinical lens, Sasitha’s behaviour could be indicative of underlying issues, potentially touching upon traits of Narcissistic Personality Disorder (NPD). His constant search for opportunities and his use of relationships might stem from a fragile ego and a pervasive need for external admiration, rather than a genuine sense of self-worth. His difficulty in committing and forming deep bonds, coupled with his exploitative approach to women, aligns with the lack of empathy and superficiality often seen in NPD." By Chamalee Ahangama[26]

"Sasitha in Bahuchithavadiya is different. He has no sense of decency (unless Pathiraja’s characters, he has a job). If viewers could identify themselves with that character, then what we have would be a deeply troubled society in need of rehabilitation. That’s why Bahuchithavadiya can’t be the voice for any generation. In this context, as it was the case in mine, most young men focus on finding one suitable partner to share one’s life with. It was hard enough then and it’s still hard despite most people now having 300 or 600 or 3000 ‘notifications’ on Face Book. Decency is still a valued, but rare quality. That’s why Face Book is just a game of cards with smiling faces imprinted on them, and winners are rare. It’s all about shuffling without results. Occasionally, though, con artists like Sasitha score because that’s how Murphy’s Law works in such cases". By Gamini Akmeemana[27]

"I must begin by stating that the film The Undecided, doesn’t just strive only to portray the life of unemployed urban youth. It goes far beyond that. It offers a complete picture of the cross-section of the contemporary society. It is brought to us through the interactions of Sasitha the youth with the other characters of the film. The picture thus presented is realistic. In it is depicted the upshot of socio-economic and political evolution that took place during last few decades. The film demands us to subtly sift through the complexities of the social network that was born out of interpersonal connections brought about by the internet and other developments in the communication sphere in the decade closet. Sasitha, the protagonist in the film represents the majority who, for different reasons, fail to complete successfully the formal education.Like the majority of them, however, he shows dexterity in manipulating mobile phones, smart phones and other modern-day personal communication devices. He has mastered the use of computers for purposes he likes best. Deftly utilizing the devices and the technology, he manages to establish relationships with many. Facebook and Skype is his mainstay in this endeavour. Society too, especially in the last decade or so has been engulfed and entangled in the World Wide Web" By Saman Pushpa Liyanage[28]

Thematically, Bahuchithavadiya is a meditation on the human condition in a society caught between tradition and modernity. It explores how technology, rather than bridging emotional gaps, often exacerbates them. Online relationships become performative acts, where love is measured by the ability to send gifts and maintain illusions. The film critiques this commodification of intimacy, exposing the transactional nature of modern romance.Bahuchithavadiya is a cinematic gem—an unflinching exploration of love, loss, and longing in a society that often leaves its most vulnerable behind. It is a film that deserves to be seen, discussed, and remembered. Through its poignant storytelling, evocative visuals, and deeply human characters, it offers not just a critique of society, but a path toward understanding and healing."By Vindya Gamage [29]

Accolades

More information Award, Date of ceremony ...
Remove ads

References

External links

Loading related searches...

Wikiwand - on

Seamless Wikipedia browsing. On steroids.

Remove ads
Remove ads