In a world increasingly torn by barbed borders of language, faith, and region, Harmukh, the first ever Kashmiri-Kannada bilingual feature film, dares to speak the language of humanity. It is not a spectacle of fantasy, nor a melodrama , instead a lived fable, spoken through real voices and faltering accents, through silence that echoes louder than monologues, and through a gaze that asks nothing but to be met.
What gives Harmukh a rare soul
Directed and shot by Ashok Kumar K, with a seamless screenplay by MS Ramesh, Harmukh ventures into uncharted cinematic space by blending two distinct regional worlds not merely through subtitles or voiceovers, but through performance itself.. What emerges is a film spoken not in the polished accents of trained voice artists, but in the raw, vulnerable cadence of human connection. It is this choice to let the imperfections of learning carry the truth of feeling that gives Harmukh its rare, unfiltered soul.
the story line
At the centre of this narrative lie Amar, a Hindu and archaeologist from Karnataka, and Aadil, a Kashmiri Muslim from a village situated near the foot of the sacred Harmukh mountain. Their friendship blooms amongst the sacred spaces around. . As their bond strengths their families too develop a strong connection rooted in mutual respect love and understanding .The story takes a heart warming turn when children of both families adopt each others language and cultural practices ,reflecting the beauty of co existence. The friendship between the two grows to such profound levels that when tragedy strikes Amar , Aadil rises above societal and religious considerations to carry out an important religious ritual for Amaar
The story is not loud; it is textured. Not declarative, but seems inquisitive.
The film’s emotional centre lies in Aadil’s arc. Aadil, raised amidst prayers, poetry, and grief, rises beyond ritual and blood to become a vessel of humaneness .Amar, too evolves from outsider to insider, from observer to participant. Their kinship is not one born of cause but of character. Their families, initially wary, grow into a shared household of hopes
what is in the name
The choice of Harmukh as the film’s title , the mountain here is not a location but a metaphor of longing, unity, spiritual yearning. The story, too, is layered with allegories However, Amin Bhat a theatre veteran, who admits the production of the film itself to be a herculean effort, which needs to be appreciated , has however, reservation with the Kashmiri Text of Harmukh . About film he feels “The logic is imposed,” referring to certain turns in the screenplay. Particularly, he raised concern over the subplot involving a stolen bag containing kalash, He suggests that the bag could have been mistaken or switched, not stolen, which was“a dramatic but neutral alternative” according to him .
critics for and against
Mustaq Bala , Editor Kashmir PEN, and film maker has all praises for Harmukh saying it offers a refreshing departure from typical formula films, presenting a uniquely powerful theme that demands serious and thoughtful viewing. Ayash Araf’s performance, says Bala is nothing short of being remarkable . Mustaq adds that Ayash Arifs role rivals the finesse of Hollywood standards, marked by depth, intensity, and emotional precision. This is a film crafted for a discerning audience, and Araf’s acting elevates it to a league of its own, adds Mushtaq Bala. Arif’s eyes carry more weight than many soliloquies. His restraint gives the film its backbone. Believes Mushtaq bala.
These words are echoed by Shafeeq Qureshi, vetern theatre and film personality who finds all shades of the film especially its story line beautiful. The story is engaging all through, says Qureshi. The claim , however, refuted by Arshid Mushtaq, a film maker and theater activist who terms the story line as “thin” saying that ironically, the story only truly finds momentum when Adil sets out for Gangbal to scatter the ashes, a journey that should have been the emotional spine of the film. “Starting with this pilgrimage could have made for a far more engaging opening, immediately drawing the viewer into its emotional stakes” adds Arshid . Mushataq further says that Adding a subtle thriller element like the ashes being mistaken for something suspicious might have layered the story with tension and intrigue. Sheik Ajaz a journalist associated with Kashmir scan present at the premier felt the “ narrative stretched too far”
what lies beyond criticism
Beyond these points of critique lies a film that is visually meditative. The cinematography is a slow caress lingering over snow-laced rooftops, mist-drenched deodars, and the glassy silence of shrines. What elevates Harmukh beyond its narrative is its visual and auditory storytelling. Says Manzoor Ahmad a media student .
The cinematography captures Kashmir in its raw, majestic beauty , the snow-covered slopes, mist-laden valleys, and tranquil shrines all become narrative tools, echoing the inner transformations of the characters. Brilliant cinematography, says Shabir Mujahid a name in film making and direction in Kashmir “Silence, in Harmukh, becomes the most articulate form of communication.” Indeed, some of the most stirring moments are wordless. A look shared, a prayer paused, a window shut these say more than a dozen dialogues ever could. Mujahid believes cinematography as a hall mark of the film Harmukh.
Harmukh Bartal song and what it conveys
And then, through the film, we hear it: Harmukh Bartal Zaa’gai Mada’no. Yi DaphumTi lagayo The haunting folk song pierces the quiet like a prayer: “I’ll await your glimpse at Harmukh’s gate, O beloved.”Whatever you say, I will do it for you. This moment doesn’t just accompany the story—it becomes its soul. Its rhythm binds the past and present, its lyrics cradle loss and longing. Waheed Jeelani’s music in Harmukh flows like a river through the valleys of silence , understated yet soul-stirring. His compositions do not seek the spotlight but rather illuminate the emotional undercurrents, weaving longing, memory, and place into every note. The songs do not merely decorate the plot; they inhabit it, carrying with them a sense of place, memory, and longing that words alone cannot express.
Equally compelling is the presence of T.S. Nagabharana, whose scenes unfold like finely spun tapestries.. GM Wanis performance, wearing a Karakul cal is stunning and dignified in deed. He looks most natural. The supporting cast Sitha Kote,Anju Matoo Isha Sharma ,Sonal N , Javeed Gora Dr Nagendra and shahid deliver performances that feel lived, not staged. .
At its premiere on June 25 at INOX Srinagar, Harmukh was received not just as a film, but as a possibility. The presence of Dr. Farooq Abdullah, and a host of cultural dignitaries added gravity to the occasion. But what truly mattered was the gaze of students, artists, and local families those who watched, , and walked out a little quieter, a little fuller.
Can it be a good omen for Kashmiri regional cinema
As regional cinema finds itself drowned under the weight of algorithmic trends and Bollywood clichés, Harmukh offers an alternative rooted in truth, humility, and cultural memory.
It is here, however, that some critics raise their brows. “Couldn’t the film have added a commercial touch?” one wonders. “At a time when Kashmiri cinema gasps for breath, why not draw in crowds with two or three fast-paced, scenic songs—perhaps a mix of Hindi and Kashmiri?” It’s a fair yearning in an age ruled by reels and algorithms, they say. . Shabir Mujahid has, however, answers to such critic “ To add such glitter would have risked drowning the spirit. Harmukh doesn’t dance for applause. It waits to be heard. A flash of synthetic tempo might have lit up the box office momentarily, but it would have fractured the deliberate, fragile rhythm of this film, one that beats with real silences and slow awakenings, says Mujahid .
The ending
In a world obsessed with quick edits and quicker judgments, Harmukh takes its time. It invites to sit, breathe, and dwell. Its beauty lies not in its perfection, but in its persistence in daring to build a bridge, stone by stone, word by word.
Critics may argue. Editors may advise. Viewers may pick and choose what moved or missed them. But what no one can deny is that Harmukh has made a beginning. An entirely necessary beginning. For this producers Ashok Kumar Cyshap, Mushtaq A Wani, Masarat bahir and Ayash Arif need applause from all corners. One cant go without appreciating the brilliant production design by Zahoor Zahid , and Javeed Goras efforts as line producer in injecting life in the film.