Two months after the Jamia Millia incident, in February 2020, the Jamia Coordination Committee, a student organization, released CCTV footage from that night. It shows armed paramilitary and police agents entering the Old Reading Hall dressed in camouflage combat gear, faces covered in scarves. They lean over desks and beat students working at computers or huddled over stacks of paper. Despite the narrative the state has maintained, the video proved, without a flicker of doubt, the sadism inflicted on students. “I’ll end my message with this one appeal,” says Umar Khalid in the dispatch he recorded before his arrest. “Do not get scared.”

How do the images (and words) that we create go beyond the spaces in which they came into existence? How can stories cross over from their own bubbles to the other side of a highly polarized world? How can they live, sustain, and even contaminate opposing ideologies—like ink slowly dripping into a glass of water until it turns blue? After all, isn’t this exactly how propaganda has been diffused among the masses by various governments of the past, especially dictatorial ones—in little shifts and triggers and not in explosive events? The parameters of what was considered normal would be quietly stretched out, without us even realizing it. Today these shifts of normalization are seeded in viral images. I am convinced that the photographer today is out of touch with the complete image world.

The title of Anamika Haksar’s 2018 Ghode Ko Jalebi Khilane Le Ja Riya Hoon (Taking the Horse to Eat Jalebis) comes from a line of dialogue in the film: when someone off camera asks a horse-cart driver what he’s doing, he replies that he’s taking his horse to eat jalebis, a traditional Indian dessert more popular with humans than equines. While the driver’s answer might seem sarcastic, it’s very much in earnest. With scenes like this, Haksar welcomes viewers to a world in which laborers speak and dream in ways that one might not expect, creating a realism that goes beyond standard notions of reality.