From a perspective, the film can be read through the lens of “collective memory” (Maurice Halbwachs) and “archival turn” (Ariella Azoulay). Ananya’s act of cataloguing heirlooms functions as an archival gesture , suggesting that personal memory is a form of micro‑archiving. The film’s fragmented structure mirrors the non‑linear nature of recollection , reinforcing the idea that memory is always already mediated .
From a perspective, the film can be read through the lens of “collective memory” (Maurice Halbwachs) and “archival turn” (Ariella Azoulay). Ananya’s act of cataloguing heirlooms functions as an archival gesture , suggesting that personal memory is a form of micro‑archiving. The film’s fragmented structure mirrors the non‑linear nature of recollection , reinforcing the idea that memory is always already mediated .