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The article studies two films, Lizard (Tiktiki in Bengali, 2012) directed by Raja Dasgupta, which is a small-screen drama aired as a telefilm in Tara TV Bangla, and Anik Dutta-directed The Ghost’s Future (Bhooter Bhabishyat in Bengali, 2012), which became a big hit on the silver screen. Analyses of these two artworks reveal how and why the phantasm of partition, even more than partition itself, remains a key point of reference in defining the everyday spirit of post-Partition West Bengal. In both these films made sixty-five years after the Bengal Partition, fiction picks on history by means of over-used notions. The article examines why, after several decades of Partition, art is exploited to appeal to the sentimentalist standpoint of ‘The Refugee Experience,’ even as so much scholarship is emerging that examines Partition in all its complexity. Who and what does ‘The Refugee Experience’ represent today? Who is the spokesperson for ‘authentic Bengali-ness’ in the recent socio-cultural context of Kolkata? The article addresses these questions.

Partition or Its Phantasm?: Sixty Five Years After The Cracking of Bengal