Note: This is an exclusive review from a reviewer that had the opportunity to watch the film at the 2008 Toronto International Film Festival (TIFF). Remember, you read it first on BollySpice.com!

Most people seem to believe that film making does not go beyond basic aesthetics like costumes, a thin storyline, and a grand star-cast. Rarely do we have the opportunity to witness directors that understand that at the end of the day, cinema is a form of expression and must be used as such. When handling such a powerful medium, it's important that filmmakers understand the implications of what they make. They possess the power to spark change, to initiate discussion and to create awareness, yet slapstick comedies are what bombard us each Friday.

Deepa Mehta is by far one of the most courageous and innovative filmmakers in the last decade or so. With each and every one of her releases, she swims against the tide and has never bothered to conform to other's expectations. This unbelievable passion for cinema and that power it holds shines through the bold subjects her films are based on. After her last film was nominated for an Academy Award, many wondered which alley Mehta would turn to in order to capture her next story. Surprisingly, she found this story in the comfort of her hometown.

Her latest film, Heaven on Earth, is probably her finest and most unique work till date, almost outshining her masterpiece Water.

The film opens to a colourful and lavish wedding celebration in India, where Punjabi bride Chand (Preity Zinta) relishes the last few moments with her family before she travels to Brampton, Canada to meet her future husband. As soon as she gets off the plane, suddenly the vibrant colours vanish. As the frame becomes cold and uninviting, Chand awkwardly meets her fiancée Rocky (Vansh Bhardwaj) and the rest of the family she now has to call her own. As soon as she arrives home, Chand is immediately asked to begin serving her husband, beginning with his beer. Quietly and obediently, she does as she is told. Awkwardly, the couple gets married though they have only had brief encounters. On their honeymoon in Niagara Falls, Rocky's mother arrives and Chand suggests getting another room. Slap. The nightmare begins.

Suddenly, Chand's world comes to a screeching halt as she becomes the victim of intense emotional and brutal physical abuse. The violence intensifies as Rocky begins to crack under the pressure of having to support an entire household. The worst part is, the rest of the family acts like a bystander, encouraging her husband to beat her as he pleases. After advice from a fellow immigrant co-worker, Chand grinds a magical root into her husband's food, with the promise that she will find ‘instant love'. She doesn't. Instead, the thin lines between reality and mysticism begin to converge as a backyard cobra takes the form of Chand's husband — or so she thinks.

We have seen stories regarding spousal abuse several times on the silver screen, but Mehta's portrayal is unique because she tackles it from a completely different perspective. She goes beneath the physical events and takes the audience deep into the psyche of her main protagonist in order to prove what such torment can do to a person. Seeing how a human being often uses fantasy to cope with crisis is a novel concept in terms of its idea as well as treatment. It's easy to make fantasy look stupid when using it in a real-life film (see Mistress of Spices!), but here it is done in such a way that you don't question it once. Several members of the audience may complain that the film takes a nasty turn when the fantasy aspect kicks in, but this is actually what sets the film apart from so many others. With this dimension, the film gets extremely layered and is a complex take on human emotions.

In addition, she doesn't spare a single detail when it comes to showing things how they are. The scenes of abuse are horrific, not only because of the pure physical torture Chand goes through but because we witness the entire family encouraging such an act as if it's completely normal. Sadly, such are the realities of many immigrant families. Shooting the film on a grainy camera, with certain lapses in black and white to emphasise loneliness and depression, Mehta and her crew manage to tell a heart-breaking tale not only through the script but technically as well. This unique idea gives the film a new dimension and truly makes you feel the isolation not only of Chand, but all the film's characters. Also, the dispersed monologues that mostly relate to the cobra fable of Chand's childhood are brilliantly inserted.

As mentioned, the beauty of all Deepa's films is that they never spare details. They're made with a ‘what you see is what you get' and that's unbelievably thrilling. Each and every scene in the film is a masterstroke, conveying something new at every turn. Not only do we understand the implications of abuse, but the film is a startling statement on society in general.

The soul and strength of the film is Preity Zinta, who sheds every single inhibition possible and pulls you into the whirlwind trauma of Chand, never letting go for a single moment. Her performance is the epitome of sincerity and she brings undying fragility and vulnerability to her role. But most importantly, she brings an innate strength to Chand that was so necessary, especially in the final scene. After several years in the industry, Preity has delivered the performance she will be remembered by for the rest of her life. In Heaven on Earth, she commands attention when she appears on screen, even while her character is falling apart. The subtle nuances in her character--whether it's body language, dialogue delivery or facial expressions--are incredible. By far, this is the best performance by a female actress this year.

It would have been easy for Vansh Bhardwaj to fall into the stereotypical trap of an abusive husband, but he brings great depth to his role which is unbelievable for an actor who hasn't worked in films before. Every time he appears on screen, you are scared to death, and that is the power of a great actor. Balinder Johal is equally effective, making you cringe with her indifference. The rest of the supporting cast are all perfect, including an endearing Ramanjit Kaur as Aman.

Several may argue that such a film sheds negative light onto South Asian, but it must be understood that this story did not have to have a Punjabi backdrop. It could be told in virtually any language and still be accessible, which is why each and every audience member was affected enough to give a standing ovation to Deepa and Preity when the film was screened. This is a universal story that speaks not only of abuse and defense mechanisms, but is ultimately a story that portrays loss of innocence through its protagonist.

The film is embedded with several incredible moments, but one particularly that stands out is Chand's encounter with Rocky in the kitchen as Mamaji stands by watching quietly. Also, the scene where Preity begs Rosa to refrain from calling 911 is so real for many abused women who refuse to get help. The climax is filled with tension and leaves you relieved but reeling from shock. But perhaps the most important scene was the concluding thirty seconds where amidst a bleak canvas; we see a light at the end of the tunnel. Such a touch is classic Mehta, who regularly portrays hard-hitting subjects but always manages to emphasise the fact that there is always hope. When all is said and done, it is this hope and Preity's performance that stay with you when the film is over.

Mehta's growth is visible right from Sam and Me through her elements trilogy and straight to Heaven on Earth — she just gets better and better. Here, she delivers her deepest film yet, allowing you to feel the characters on such a personal level that it's not easy to forget them. In all respects, Mehta gets it right — whether it's a unique storyline, unbelievable performances or technical brilliance. Others have made films on the same subject before, but only Mehta could pull this off with so much poignancy. Ultimately, as the credits roll and you begin to re-play the film in your mind, what strikes you is the underrated and astounding strength of a woman.

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