“Farming the Revolution” is a poignant documentary that captures the essence of the 2020–2021 Indian farmers’ protest, emphasizing community resilience and the human experience behind the movement.
“Farming the Revolution” is a quietly powerful and deeply human documentary that immerses viewers in one of the largest and most sustained protests in modern history—the 2020–2021 Indian farmers’ movement. Directed by Nishtha Jain and Akash Basumatari, the film adopts an observational approach, choosing not to lecture or editorialize but instead to dwell among the half a million farmers who occupied highways outside Delhi for over a year, protesting controversial agricultural reforms. What emerges is a portrait of resilience, dignity, and community under immense pressure. The scale of organization they demonstrate is also inspiring. The film won the Best International Feature Documentary at Hotdocs 2024 and was screened at the 23rd Annual San Francisco International South Asian Film Festival in 2025.
Rather than focusing on political leaders or televised debates, Jain’s camera captures the texture of daily life in the protest camps. The film lingers on men and women cooking in communal kitchens, tending fires in the cold, repairing tents, singing, and praying. These ordinary actions, rendered with care and patience, build into something extraordinary: a testament to the endurance and self-organization of rural communities standing together. The cinematography favors long, contemplative takes that allow the audience to feel the slow rhythm of protest life—the repetition, the fatigue, and the quiet determination. In this sense, the film’s pacing mirrors the persistence of the farmers themselves.
The emotional range of “Farming the Revolution” is remarkable. Jain captures not only anger and defiance but also humor, tenderness, and pride. Moments of levity and shared laughter punctuate the heavier scenes of speeches and confrontation. One of the most affecting aspects is the visibility given to women. Often overlooked in coverage of the movement, here they appear as indispensable actors—organizing food, maintaining order, and voicing their own understanding of justice and survival. Their presence challenges assumptions about who participates in political struggle and how care work underpins collective resistance.
At its best, the film functions as both art and historical record. Jain’s unobtrusive style allows the farmers to narrate their own experiences, resulting in a democratic, polyphonic documentary that refuses simplification. However, this commitment to observation can also be a limitation. The film rarely steps back to situate the protest within a broader historical or economic frame. There is little discussion of India’s long agrarian crisis or the global forces that have shaped it. Nor does the film dwell much on internal debates or tensions within the movement. For viewers unfamiliar with the context, this can make parts of the story opaque. Still, these absences seem intentional; Jain appears less concerned with explaining the protest than with letting it speak in its own cadence.
Visually, the documentary is stunning. Wide shots convey the vastness of the camps, while close-ups capture faces marked by sun, dust, and quiet resolve. The editing is patient, emphasizing continuity and endurance rather than drama. The result is a film that moves slowly but steadily, much like the movement it depicts.
“Farming the Revolution” is not a rousing call to action but rather a meditation on collective strength and the labor of hope. It invites viewers to witness rather than consume, to understand protest not as spectacle but as a lived, sustained practice of community. In a time when mass movements are often reduced to hashtags or headlines, Jain’s film insists on the value of presence—of staying, building, and believing together. It is a vital, poetic document of democracy from the ground up, according to India Currents.