Corrode / Kshay (2011): Obsession Erodes the Mind in Black and Whitetest

What the Film Is About

The story follows Chhaya (played by Rasika Dugal), a middle-class housewife who becomes dangerously obsessed with a statue of the goddess Lakshmi. Her fixation grows into a consuming madness, threatening her marriage and sanity. Her husband, portrayed by Alekh Sangal, watches helplessly as desire corrodes into delusion. Sparse in action but heavy in atmosphere, Corrode is a psychological thriller about obsession rendered with haunting precision.

Direction by Karan Gour

Director Karan Gour approaches the material with radical minimalism. Shot in stark black-and-white, the film rejects Bollywood gloss and embraces raw textures. Gour not only directed but also co-wrote, edited, and composed parts of the score. The film took four years to complete on an ultra-low budget of around ₹4 lakh (less than $10,000), often with just a two-person crew. This stripped-down process mirrors the corrosive intensity of the narrative itself.

The Script

The screenplay deliberately narrows its focus: one idea spirals into compulsion, while poverty and religious symbolism feed the breakdown. Dialogue is sparse, with psychological tension expressed through silences, gestures, and visual motifs. Critics noted its discipline — a story told with no melodrama, just relentless psychological erosion.

Performances

Rasika Dugal (Chhaya) delivers a breakout performance. Without resorting to theatrics, she embodies obsession creeping into every corner of her character’s life. Her subtle intensity anchors the film.
Alekh Sangal (Arvind) plays the husband with restrained realism. His inability to counter her madness adds to the helplessness.
Supporting actors like Sudhir Pednekar and Adityavardhan Gupta bring authenticity, filling the Mumbai environment with working-class figures who ground the narrative in lived reality.

Visuals, Sound, and Editing

Cinematographer Abhinay Khoparzi frames claustrophobic interiors and crumbling exteriors in sharp monochrome, echoing the theme of decay. Gour’s editing avoids flashy tricks, instead tightening the spiral of obsession. The score by Siddharth Bhatia and Gour himself works more like a heartbeat than a melody — pulsing, anxious, and disorienting.

Reception and Context

Corrode (Kshay) premiered at the Chicago International Film Festival in 2011 and had its Indian release on June 15, 2012 through PVR Director’s Rare. It earned the Grand Jury Prize at the Indian Film Festival of Los Angeles (2012) and the Asian New Talent Award for Best Film at the Shanghai International Film Festival (2012). Publications like Mint later listed it among the best Indian films of 2012, highlighting its daring style and DIY production ethos.

Facts and Figures

Original title: Kshay (Corrode).
Country/Language: India / Hindi.
Genre: Psychological thriller / drama.
Runtime: 92 minutes.
Director/Writer/Editor: Karan Gour.
Cinematography: Abhinay Khoparzi.
Music: Siddharth Bhatia & Karan Gour.
Studio: Empatheia Films.
Budget: ~₹4 lakh (approx. $8,000).
Box office: No reliable commercial box office records; limited festival and arthouse release.
World Premiere: Chicago International Film Festival, October 8, 2011.
Indian Release: June 15, 2012 (PVR Director’s Rare).
Awards:
- Grand Jury Prize (Best Feature) — IFFLA 2012.
- Asian New Talent Award (Best Film) — Shanghai IFF 2012.
IMDb rating: 6.6/10 (approx. 327 votes as of 2025).

Strengths vs. Weaknesses

Strengths:

Striking black-and-white cinematography.
Rasika Dugal’s gripping central performance.
Minimalist style that turns production limits into an artistic weapon.
Recognition at international film festivals, boosting India’s indie reputation.

Weaknesses:

Its slow, narrow focus may alienate audiences expecting narrative payoff.
Extreme minimalism sometimes reads as raw or unfinished.

Conclusion

Corrode (Kshay) is a landmark in Indian independent cinema, proving that vision can outweigh resources. Its obsessive focus, stripped-down aesthetics, and award-winning festival run cement it as one of the most distinctive Indian psychological thrillers of the 2010s. It won’t appeal to those seeking glossy spectacle, but for viewers interested in obsession thrillers and experimental filmmaking, it’s a haunting must-watch.