My thoughts on Handagama’s “Rani”

IN my opinion, this is one of Handagama’s finest films – one of his most multifaceted works – depicting the story of a mother whose son was abducted and murdered.

- 

The narrative unfolds through a series of deeply intimate and emotionally charged encounters between the protagonist, Manorani, and five key characters: her son, a journalist; his friend, a political activist; a devoted servant; a longtime friend who is a split man; and a widow who seeks to befriend her. Below, I have organised my thoughts on the film under three main headings.

1. Authenticity and honesty/ genuine engagement:

The film is a work of fiction inspired by the true story of Dr. Manorani Saravanamuttu and her son, Richard de Zoysa, a renowned journalist and activist who was abducted and murdered in 1990. While the film draws from real historical events, it does not claim to be a biopic of Dr Saravanamuttu or a strictly factual retelling of the tragedy. Instead, it sees fiction, allowing for a broader and more layered exploration of the underlying social and political realities.

Rather than focusing solely on the historical accuracy of the events that led to Richard’s brutal killing, the film engages with a far more complex and unsettling question: what happens to a society when violence becomes systemic and normalised?? It examines the ways in which authoritarian regimes perpetuate brutality in political, social and self-preservation – creating an environment where violence is not only carried out by those in power but is also internalised, accepted, and even participated in by ordinary citizens. In such a climate, even those with moral integrity can find themselves complicit – whether through silence, fear, or the gradual erosion of ethical boundaries.