Heavy cargo is influenced by cultural elements, both traditional and popular, which influence the story approach, as well as the packaging style.
Cargo at a glance is similar to narrow-scope films set on spaceships that talk about loneliness, alienation and existence, such as Solaris, Moon, or High Life. Vikrant Massey plays Prahastha, an astronaut who has served alone for years on the Pushpak 634A plane. The difference is, Prahastha is not human. He’s a devil. Yes, devil, devil, or whatever. He’s a demon who can make the objects around him float. How did the devil become an astronaut? Best Movie Site
Once upon a time, in 2027, a nation of demon descendants called Homo Rakshasa, signed a peace treaty with humans, in order to change their bad and sinister image. Rakshas Manushya Peace Treaty is the name of the agreement. They created a program, in which humans who died were sent to a spaceship. Their bodies are returned to the way they were, their memories are erased, before then reincarnating.
There is no detailed explanation, either magic or magic, about how after entering a room, a person can be reincarnated. And it doesn’t feel necessary. The focus of Cargo is about humans (read: demons) on duty. Each story invites us to peek outside the plane to observe events on Earth, always distracting questions arise. For example, “After the agreement, how were the dynamics of the lives of the two nations? Are humans and demons side by side? ”. Movie Review
Different from the compatriots from Hollywood whom I mentioned above, for example, Cargo is not a silent contemplation, nor is it always serious, let alone depressive. Even Arati Kadav designed her film to entertain a wide audience, through her unique world-based antics. From the radio we hear the news about an actress who is half human and half snake, while a talk show on television is hosted by centaurides.
Arati is able to balance contemplative drama and light moments, with pacing that is full of patience, but not draggy. The interior design of the Pushpak 634A is pretty convincing, while the adequate CGI — considering how far the Bollywood industry has not stepped into this genre — enlivens the exterior, as well as several elements related to the figures and abilities of demons.
The story begins to touch more complex questions after the arrival of Yuvishka (Shweta Tripathi), the best graduate who is Prahastha’s assistant. At first Prahastha objected, but as soon as she watched Yuvishka work, plus she had healing abilities, her heart began to melt. Not. There is no cliché romance between them. Prahastha kept her own love affairs which she kept hidden, while Yuvishka had other issues to worry about.
There are obstacles related to the introduction of Yuvishka’s strength. One of the cargoes (the name for the deceased who was sent to Pushpak 634A) was said to have suffered severe burns after he died in the explosion. However, the previous cargo never appeared to have a wound. Even though there are those who died in traffic accidents, in elevators, and others. Inconsistencies related to the above “rules” merely appear to pave the way for Yuvishka to show off.
Next, as the relationship between the two main characters strengthens, coupled with the solid chemistry of Vikrant and Shweta, the story begins to raise life-related questions. Unfortunately, Arati’s manuscript only touches the surface, neglecting to dig deeper. As a result, there was some unnecessary ambiguity (what is the exact reason Yuvishka’s power disappeared and then returned?) The message seemed ambiguous.
Cargo basically talks about a “void” set in outer space. Prior to Yuvishka’s arrival, Prahastha was confined by a void called solitude, alienating herself due to the fear of the sadness that separation produces when she has a relationship with someone else. Then, through the stories of the cargoes, there was a recollection, “If after death there is only absence of an ending, what is the need to live?” Top Movie
As implied in the words of Nitigya (Nandu Madhav), the officer who communicates daily from the station on Earth, while displaying the power of his disappearance, “It is impossible to completely disappear”. According to Cargo, there are always traces left when one reaches the end of the journey. Traces of memories and legacy. But the statement ends as a surface idea, without any narrative that can inspire feelings. Even though it makes it less than optimal, these shortcomings do not diminish Cargo’s achievement, which once again proves Bollywood’s capacity to turn unfriendly material into a dish that is easily accessible to the wider community.