CHAITANYA TAMHANE’S WORK is gaining momentum. His directorial debut, Court (2015), a meditation on the banal evil of India’s judicial system, was praised for challenging the ideological conventions of the legal drama through static shots and long takes. No fast cut, close-up-heavy procedural is staged inside the courtroom; no dramatic monologues are delivered; justice is not served. Tamhane’s second feature, The Disciple (2020), while more kinetic in its camerawork (by Michal Sobociniski), proceeds at a similarly measured pace. Its narrative about the existential journey of Sharad (Aditya Modak),