Director Lijo Jose Pellissery uses food as chaos in Jallikattu , where the village’s hunt for the buffalo is intercut with a butcher slaughtering a goat and a baker burning bread. It is a primal scream about consumption. In contrast, Sudani from Nigeria uses the simple act of a Nigerian footballer struggling to eat kanji (rice gruel) and pappadam to bridge a cultural gap. Food is never just food; it is a border, a bridge, and a battlefield.

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