Anand, a gay man in his early 30s, is drawn back from Mumbai for the 10 days of mourning for his father in the countryside of his youth. There he reconnects with a young farmer in writer-director Rohan Kanawade’s beautiful and groundbreaking Cactus Pears (Sabar Bonda).
Our twin peach trees
by Chris Drew4 stars
After the death of his father, Anand (Bhushaan Manoj, feature debut) expects to visit from Mumbai for two days and then return for the last day of the traditional mourning period. However, under pressure from his mother and family, he stays for the duration, and these ten days become the setting for Cactus Pears.
Various strict grieving traditions are outlined to Anand; rules determining what you wear, how you eat and drink and restrictions on hair and beard being cut.
As the only son, Anand finds there is an enormous burden of responsibility on his shoulders. He is made to support his father’s head, when his body is dressed for the funeral, and subsequently has to pick pieces of bone out of his father’s ashes.
With his wild curly hair, Anand stands out from the rest of the community, many who are initially displeased by his black t-shirt (Anand insists it is grey) and by an unmarried man lighting the funeral pyre.
Anand shares a touching supportive relationship with his mother Suman (Jayshri Jagtap, Soyrik). Numerous wordless scenes between the pair tell more than an any words could. We learn that Suman knew of Anand’s sexuality before he spoke to her, and she is quietly accepting of it.
It is revealed that Anand has suffered previously from both bereavement – the earlier loss of his brother Amit – and heartbreak when an ex-boyfriend had got married.
Anand avoids disapproving family comments about his marital status by spending time with Balya (Suraaj Suman, feature debut) a local farmer who he had known years before.
As the mourning period continues, walks with Balya become a refuge for Anand and their quiet talks, near Balya’s flock of goats become increasingly intimate eventually leading one day to sex.
When Balya surprises Anand with a cactus pear – something Anand had reminisced about – he lights up with delight at the taste, the nostalgia and Balya’s gesture.
Tradition dictates that Anand’s hair and beard are shaved for the final day of mourning leaving him unprotected from his grief. When Balya tells him that he wants to join him in Mumbai, Anand has a revealing moment of emotional clarity saying he is no fit state to be making decisions.
Back in Mumbai, Anand finally has an outpouring of grief and is comforted by Balya with the pair given some possibility of happiness for the future at the film’s conclusion.
Throughout there is a feeling of great authenticity and simplicity; the family have to eat their meals, shoeless, on the floor leaning on the wall.
The quietness of the film is emphasised by director Kanawade’s choice not to use a score. Instead, we hear character’s breathing, the brush of a hand through hair and the footsteps of goats on rocks with their bells gently ringing in the background.
The emotional core of the film is an absolutely tremendous performance from Manoj as Anand. Through his eyes and body language we see into Anand’s soul, somebody absolutely shattered by grief. It is surely impossible to watch and not feel enormous compassion for him.
He’s processing so many complex thoughts and feelings; foremost among them shock – as he tells Balya he expected his father to recover – and all of them are expertly communicated by Manoj.
Rare moments of joy for Anand come when he interacts with his young niece and he really lights up in those scenes. There is a lovely moment of warmth and kindness when she feels his newly shaven head and asks if it is still him.
Anand is also a character of great integrity and quiet dignity; when challenged by family about his marital status he says he has talked about it to the most important people – his parents – and therefore does not need to say anything further.
Of course, his connection with Balya is integral to the film and the two actors share great chemistry as their characters slowly develop a moving bond with the hope of comfort and support in the future.
A superb debut for writer-director Kanawade, Cactus Pears became the first Marathi-language film to be selected for Sundance film festival, where it was awarded with the Grand Jury Prize for ‘World Cinema – dramatic.’
A fantastic advert for world cinema, Cactus Pears is a beautiful portrait of bereavement, family and connection and takes its place in the canon of LGBT film.
Cactus Pears premiered at Sundance and is released in UK cinemas on 19 June 2026.
