The screen loves a woman’s story, and we do too. From the groundbreaking first Sinhala talkie, Kadavunu Poronduwa (1947), right up to modern films like Ayu (2025), female characters have not just been in the picture, they have often been the picture. This series, Beyond Victimisation dives into the nuanced world of feminine subjectivity, agency and identity across selected Sinhala films. This series is not just about what women do on screen; it is about what they feel, think, and see captured by the lens.
The 2002 film ‘Salelu Warama’ directed by Wasantha Obeysekara, offers an insightful exploration of female subjectivity. The story centres on Priyanka (Sangeetha Weeraratne), a middle-class university student who was raised in a sheltered and nurturing environment.
The film explores her journey through the complexities of love and relationships, marked by uncertainty and fragility, especially as she begins her university life, which exposes her to diverse cultural and class backgrounds.
Obeysekara’s primary objective in making the film was to shed light on the unruly and undisciplined sub-culture within the university setting, based on real-life unfortunate incidents and this objective is reflected in the film’s title, ‘Salelu Warama’ which interprets university enrolment as a potential admission for ‘illicit affairs’.
However, the director’s ambitious focus on the brutality of the university subculture, which was the primary focus of the film’s critics too at the time it was screened, overshadowed the film’s potential to initiate a discussion about female subjectivity, skilfully portrayed through the character ‘Priyanka’.
Feminine traits
The feminine traits portrayed by the character of ‘Priyanka’ include a perceived fragility, a tendency to make impulsive decisions followed by regret, experiencing negative emotions frequently, and often relying heavily on a male figure in her life.
Priyanka’s character highlights the complexities of female subjectivity within the broader context of the film’s exploration of university life and culture. Priyanka’s vulnerability and fragility become apparent early in the film, notably during the university’s ragging season. Her upbringing in a pampered and sheltered family contrasts sharply with the rough and often intimidating nature of the initiation rituals during the ragging season. These rituals are often orchestrated by students from rural villages and for them, this is not just an initiation; it is a means of acclimating to the new urban environment, overcoming class differences, and adapting to the cultural shock of moving from their rural villages to a town.
This contrast between Priyanka’s sheltered upbringing and the challenging environment of ragging underscores her vulnerability and discomfort in this unfamiliar setting. This led Priyanka to quickly develop a close bond with Suren (Kamal Addararachchi), a senior student in the university, whom she saw as her protector during the challenging ragging season. Although Suren’s affection for Priyanka was evident from the beginning, she remained silent and withheld her true feelings, not revealing her marriage to Sunil, who was abroad at the time. Priyanka had uncertainties about Sunil’s return because he rarely corresponded with her. She learned that Sunil had been previously married to another woman and she is on a quest to uncover the truth about it.
In this confusing situation, Priyanka concealed her emotions from everyone. She spent her days worrying and trying to solve her problems alone, impatiently waiting for Sunil’s letters, and attempting to uncover the truth about his previous marriage.
She also feared that Sunil might abandon her. In the midst of these tumultuous and fragile emotions, there is a poignant visual moment: Priyanka is in her room, gazing at a picture of Sunil and weeping. Suddenly, she tears the picture into pieces in anger and throws it into the dustbin. Within seconds, however, she retrieves the torn pieces and attempts to reconstruct the image, vividly illustrating her fragility, inner turmoil and indecision.
Uncertain thoughts
The story revolves around Priyanka, delving into the uncertainties that weigh on her melancholic mind. Her uncertain thoughts give rise to genuine incidents, such as forming bonds, nurturing hopes, and building relationships. While Priyanka is unsure about Sunil’s return, she finds solace in the companionship of Suren, which provides her with a sense of security in the university environment and helps her escape the pain associated with her memories of Sunil.
However, Sunil’s sudden return disrupts her newfound stability, leading her to distance herself from Suren and attempts to reconcile with Sunil, leaving Suren devastated and angry.
While the film ‘Salelu Warama’ initially concludes in a stereotypical manner by portraying Priyanka as a victim, having been stabbed by Suren due to the ego clash between Suren and Sunil, there is a significant radical twist just moments before the actual end of the film. That is the police arriving at Priyanka’s house in response to a complaint about Sunil assaulting Suren and this unexpected situation surprises Priyanka, and during an argument with Sunil in her room, she boldly asserts that she will not leave the country with him until she can stand firmly on her own two feet.
This decision marks a metaphorical transition in her subjectivity, signifying her evolution from a fragile and emotionally dependent woman to an independent individual who takes the time to contemplate her life choices. The camera zooms in on Priyanka during this scene, underscoring her newfound independence and self-reliance, as I suggest for the radical ending of the film.
While Salelu Warama is often remembered for its unflinching portrayal of the turbulent university subculture, its most enduring legacy lies in the nuanced evolution of Priyanka. Wasantha Obeysekara moves beyond the tropes of the “victim” to present a sophisticated study of female subjectivity, charting a course from fragility and emotional dependency to a hard-won sense of self.
By culminating the narrative not with a tragedy, but with Priyanka’s defiant refusal to remain a pawn in the ego-driven conflicts of men, Obeysekara elevates the film into a powerful feminist text. Ultimately, the film stands as a testament to Obeysekara’s true potential as a filmmaker: he remains one of the few Sri Lankan directors capable of capturing the interiority of women with such empathy and precision, transforming a story of vulnerability into a radical manifesto for female independence.
Cast and Crew of Salelu Warama: Script and directed by Wasantha Obeysekara, DoP Jayantha Gunawardena, Editor Elmo Halliday, Cast: Sangeetha Weeraratne, Kamal Addaarachchi, Pradeep Senanayake, Tony Ranasinhe, Veena Jayakody, Saumya Liyanage, Hemasiri Liyanage, Purna Sampath de Alwis and Janak Premalal