The film Long Hair, Short Ideas attempts to create a conversation between the pressures of excavating a political moment and the elasticity of the documentary form. Starting from the desire to look at the women’s movement, the artist found herself immersed in the viscosity of struggles. The inability to find perspectival stability started to become the very site from which possibilities sprouted. The film is constructed around Vidrohi’s (the revolutionary poet) wife. Her relationship to the radical movement is traced via the turbulent political history of India in the 1970s (Emergency and the gagging of free press and civil liberties) and her intimate experiences around domesticity, sexuality and labour. In revisiting her abandonment by her husband and the choices that she had to make as a result, Paul not only recasts the traditionally absent figure of the "revolutionary’s wife" but also pushes us to rethink the orders of ‘silence’ and 'absence' within new precincts.
