Set in the picturesque, but mired, backdrop of rural India, Kaanji speaks of the unique dichotomy that clouds the progress and development of our nation—while, on one hand, the country has imbibed capitalism to the hilt, it is the ignorant, ill-informed section of society that has to suffer the perils of the one-sided deal the capitalistic philosophy offers.

Kaanji explores all this through the eyes of an animal pound (or Kaanji). This is a place which houses ‘stray’ animals that have confiscated from owners on account of breaching rules that are ambiguous at best—often, animals that have strayed / run away from their owners are caught and sent to the Kaanji, and can only be release once an appropriate ‘fine’ has been payed. The story begins in one such Kaanji, where a prizefighting bull has been impounded from his poverty-stricken owner—Nirmal. Although he has the means to pay the penalty and take his bull back home, Nirmal is torn between his need to dedicate what little money he has to treating his indisposed, pregnant wife and bringing his bull home—the bull is also his only means of livelihood as his family lives off the income generated from the bull’s numerous wins at local races.

Politically-motivated rioting lends another tone to this multi-faceted tale. Rioting mobs set Nirmal’s neighbourhood ablaze and Anandi—Nirmal’s wife—and their heavily pregnant cow are injured in the ensuing stampede.

The story unravels to reveal a bureaucracy-empowered racket, which Nirmal inadvertently succumbs to, the plight of the uninformed rural masses that, at the end of the day, are little more than mere puppets to manipulative politicians and the rampant corruption that has, unfortunately, come to define modern-day India.

And yet, running through it all, are deep, powerful human emotions that are untouched, unscathed by the swap of corruption and greed. It is these emotions that eventually define Kaanji—through Nirmal’s devotion to his wife and his unborn child, Anandi’s tender bond with their cow and finally, the little act of kindness that reminds us, the audience, of the latent humaneness that binds us together.

Emotionally-charged, sensitive and with a strong message that drives home to deliver a lasting impact... Kaanji is a story that is simply waiting to be told.

  • Suraj Madhukar Khobragade
    Asst director to Murali Nair for Virgin Goat
  • Suraj Madhukar Khobragade
  • Nitin Pohane
  • Abhishekh Urade
    Key Cast
    "Kisan "
  • Pranali Shende
    Key Cast
  • Project Type:
  • Runtime:
    1 hour 5 minutes
  • Completion Date:
    June 12, 2012
  • Production Budget:
    1,500 USD
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Director Biography - Suraj Madhukar Khobragade

Born in Chandrapur District of Maharashtra to a farmers family who owned a hector of land and his father was also a small time sangeet natal enthusiast and a producer... accidentally reached Mumbai for further education after 12th... met an assistant director Harshad Raipure, got inspired and took up writing and started to dream about movies...few days later got first internship with Mr. Murali Nair, for the movie Virgin Goat, also worked as an assistant director with him, a couple of years later found a producer Nitin Pohane who agreed to produce Kaanjee..after that tried luck in Mumbai while working in call centers to survive. while working there came across an FTII student, tried getting into FTII, No graduation, Completed graduation in 2016 after getting married in 2013 to spouse Ritu ,now has two daughters Emily, 7, and Dora, 2, also even now working in a call center for living ,eventually got into Department of Media and Communication Studies- Savitribai Phule Pune University. Currently studying M.Sc. In Media and Communication Studies specializing in Screenwriting and Direction.

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Director Statement

Humans want to create, tell stories, based on it we have developed cultures. So far there is no mediums as strong as Cinema to tell stories and extend the culture to the next generation.in order to keep our culture alive we need to create.
however commercial aspects of the cinema gave rise to stereotypes and cliches.
in order to get authenticity in the content ,we all, all communities ,groups, societies, need to create and share and not just be the consumer. only then we will get true cinema with variations in aesthetics.