ABSTRACT
This chapter deliberates on liminality in the spaces shown in Benegal’s latest films titled Hari-Bhari, Welcome to Sajjanpur and Well Done Abba, and also in the aesthetics of these films, called New (Middle) Cinema. The chapter delineates the connection between aesthetics and a socio-economic context. The argument centres around how Benegal reinvented his art form in the post-liberalisation India. Moving away from the binary views of the rural and urban, his films are set in mofussil towns and through his in-between cinema, Benegal satirises the developmental policies of the government in a comic mode.
