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There are mid-close-up shots of spiders spinning their webs all across the fields; the beauty of them all is accentuated by the silence and the underlying sound design - the constancy of the ominous bass will signal to the very attentive viewer that something is rotten in the state of Punjab and it goes deep.

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Unless such films are being widely watched and supported, Indian cinema cannot grow.

Richa Chadda-starrer Masaan and Gurvinder Singh's Punjabi film Chauthi Koot will represent India's challenge at the prestigious Cannes International Film Festival this year.

It is beautiful to watch direction so deliberate and poised in an Indian film.

Later, in the second storyline, which is about Khalistani separatists and the Indian security forces visiting a Punjabi household within a span of 12 hours and turning the already paranoid home upside down, there are scenes of the central character Joginder (Shavinder Vicky) staying up at night, listening to their dog bark, thinking to himself about what direction he should take when he and his family are being pressurised from all sides. There are highly detailed shots of clouds gathering in the sky and Punjab's harey-bharey khet slowly getting dark.

Singh, who shot to fame with his widely acclaimed arthouse gem Anhe Ghore Da Daan, has this time trained focus on the state-sponsored crimes in Punjab of the 1980s, and the resistance movement it spawned.

Meanwhile, Indian-origin British film-maker Asif Kapadia's Amy, documentary on the late R&B diva Amy Winehouse, is in fray in the Midnight Screenings section this year.

Masaan is an Indo-French collaboration co-produced by Anurag Kashyap, who has emerged as contemporary Indian cinema's de facto brand ambassador at Cannes.

The film, which is directed by budding director Neeraj Ghaywan and features Chadda along with Sanjay Mishra and Vicky Kaushal, is a gritty drama shot in Benaras."#Cannes2015 Masaan (Fly Away Solo) by Neeraj Ghaywan #Un Certain Regard (sic)," confirmed the official twitter handle of Cannes film festival.

The film, centered around the tension and suspicion among Punjab's people during the Khalistan movement of the 80s is, for the most part, silent.

One, on watching Chauthi Koot, might recall 2014's Bengali film Asha Jaoar Majhe (English: Labour of Love) by Aditya Vikram Sengupta, which is also a similar low-budget indie production, that earned laurels worldwide, and was devoid of dialogue for its entire length.

Cinema is, by definition, audio-visual art, but when it had to bear the brunt of telling stories, in order to be monetised and sold as a commodity, it began drawing from literature and theatre and consequently became more verbose, (hence, talkies emerged) and what was once just show, became show Cinema is, by definition, audio-visual art, but when it had to bear the brunt of telling stories, in order to be monetised and sold as a commodity, it began drawing from literature and theatre and consequently became more verbose, (hence, talkies emerged) and what was once just show, became show and tell.