… is probably the most abstruse film that the Kplus program has to offer in 2026. But it has absolutely earned its place. Mivan, an 11-year-old city kid, ends up staying with his aunt in an Indian village, where he is confronted with deadly boredom. Everything is unfamiliar. Mivan doesn’t know what to do with himself, is on his cell phone, in the garden, and becomes more and more frustrated by the hour. It’s a feeling that most people are probably familiar with: the incredible, captivating silence, the pointless passing of time. But also what can come out of this boredom: he starts banging on everything he can, observing and existing.
This portrayal of boredom and the inconspicuous, seemingly irrelevant scenes of everyday life, such as the recurring element of going to the toilet, are among the film’s greatest strengths. Sounds of nature and original audio recordings are played. Mivan’s glances and observations are captured, even if these moments are unpleasant and exhausting to endure. But that is what artistic works are for: to allow us to experience negative emotions and learn to endure them.
For this reason, the film probably only works in the cinema, where the audience’s full attention is focused on it. Without this focus and the time to engage with the film, these situations seem trivial and meaningless.
At first glance, these scenes seem confusing and point to the inability of today’s society to do nothing and to endure silence and boredom, compensating for unpleasant feelings with constant overstimulation. And perhaps that is precisely the point that viewers should notice: how far alienation from everyday situations and absurd moments has progressed. The absurdity of everyday life, the meaningless, confused actions and events that shape our lives. These are not profound, but simply serve a purpose in themselves (“going to the toilet, observing”). This film was created for these routine and unpleasant situations.
This alienation is certainly exacerbated by life in the city. Mivan therefore represents this phenomenon to a certain extent, as he has to reacquaint himself with rural life and get rid of his constant overstimulation. In the city, his mother tongue is not spoken properly, but rather international languages such as English. Every day, he writes with a new pen, and his free time is filled with hobbies and consumerism. Mivan only comes to terms with this shift in reality when he connects with the people in the village. He develops a very special friendship with the boy on the horse. He also becomes popular with his classmates when he introduces them to aspects of city life and adventures such as a fair. His relationship with his aunt also becomes increasingly warm and open.
A very symbolic and realistic scene from a child’s life, which at first seems rather insignificant. Mivan is the only one who has a cell phone and spends a lot of time scrolling through his social media feed. There he finds absurd and funny videos, and one click later an ASMR video appears that simultaneously educates about childhood trauma. The simultaneity of brain rot and deep psychological themes seems even more absurd from the outside perspective of the viewer than when scrolling through it yourself. The topics that a 13-year-old child is confronted with within two minutes without any context are frightening, yet they reflect the harsh, cold reality.
The film also contributes to education, using very simple language. Mivan explains consent with such clarity that its relevance is heightened by its incidental nature. It is not made into a big issue, but is seen as a matter of course: pleasant touches that you want are good, and unpleasant ones are not okay.
Even though “Not a Hero” drags at times, the filmmakers show great courage: they tell an exciting and honest story with humor, in which young people can recognize themselves. They create space for topics that really concern young people and endure uncomfortable silences.
© Aditya Varma
Translated with the help of DeepL
