The film attempts to replicate the experience of viewing a painting. There is very little traditional dialogue in parts; instead, the story is told through colors, background scores, and the expressions of the actors. The narrative flow is non-linear, mimicking the way one’s eye moves across a canvas—jumping from detail to detail rather than following a straight line.
Meenaxi is not just a character; she is a shape-shifter. In the Nawabi culture of , she is a traditional, scent-wearing longing. In the gothic, wintry streets of Prague , she becomes an elusive, modern woman. Finally, in the golden deserts of Jaisalmer , she transforms into a rustic, folk-inspired presence. The Visual Language of M.F. Husain meenaxi: a tale of three cities
The film is brave in its refusal to be linear. It questions the nature of storytelling: Is the author creating the character, or is the character dictating the story? Is Meenaxi real, a muse, a fragment of Nawab’s psyche, or a goddess? Husain never gives a clear answer, and that ambiguity is the film’s strength. The film attempts to replicate the experience of
M.F. Husain is known for his visual eye. The film is told almost entirely through the "male gaze" of Nawab, but it subverts this by having Meenaxi look back. She challenges his gaze, asking him why he cannot let her be happy. The film questions whether a muse can ever truly be possessed. Meenaxi is not just a character; she is a shape-shifter
: Tabu plays the titular role, embodying three different characters across the three cities, a performance highly regarded by critics.
The soundtrack by A.R. Rahman is a character in itself. It blends Qawwali, Rajasthani folk, and Western classical influences to bridge the gap between the three cities.