Zoo is a notable union of a powerful story and equally strong visuals to supplement it. In terms of technique, the film follows all the rules of sound, music and camera angles to create an atmosphere of suspense, uncertainty as well as to mount action, and yet, it does not come across as pedantic. The storytelling, instead, is marked by efficiency and seamlessness. While the narrative raises potent, urgent questions about a desperate need of the hour, the approach adopted for the same is simple, making its message all the more impactful in the face of complete absence of garish devices or tools. 

The film is a comment on racism, drawing the viewer's attention to a conversation specifically around police brutality that shook the world and made it sit up the past year. However, it should be noted that it brings in personal experiences, ensuring that it is not simply a macrocosmic narrative about a white and a black man, but also of two people with their own internal, individual struggles and frustrations. Further, the manner of treatment of this dissatisfaction offers a sharp contrast. For instance, a white character, who comes from a space of entitlement owing to his racial identity, is convinced of being allowed the opportunity to inflict violence on another with impunity, even in the face of all calmness and rationality received from the other party. 

Your dissatisfactions are perhaps then allowed to find expression in the violence and cruelty you inflict on others if you are of a certain race, lurks the subtle comment within the folds of the film; like in a zoo where we are all animals, waiting to give in to our bestial sides under the right circumstances. Or worse, since the existing hierarchy is engineered to dismiss the marginalized further to a realm defined by the absolute disregard for their life. 

Though the technique and visual approach of the film has already been appreciated, it is important to mention the same again. The film deliberately drops visual cues regarding what is to come. For instance, it is a beautifully ominous shot of our protagonist peering into a store while metal rods make their presence felt against a glass window, making the scene suggestive of incarceration, a prison. It is precisely after this moment that the tone of the film changes. The plot moves from personal, localised struggles of debauchery and petty thefts to a thematic concern that would come to raise potent questions about systemic racism and oppression. It is especially important to invoke this particular visual image at this juncture because it further asserts the film's title - the reality of a world where a black man is born within the cage a festering society has already chosen for him. 

Additionally, there is an emphasis on the fierceness of youth which is allowed to you depending on your racial identity. The body language of a white man before a potential figure of authority offers a disturbing juxtaposition with that of a black man. 

Within the body of the film rest several significant comments while it continues to maintain its crispness throughout. There is a portrayal of how mindless violence often leads to a cycle of hatred, an action-reaction equation, a cause and effect. One attack on the oppressed can sometimes lead to a retaliation the oppressor did not expect. The film does not take sides regarding this reaction, it only presents it to the viewer in an objective manner. 

What is especially notable about the final product is that it manages to bring in all of these concerns (and more) to encourage a pertinent discussion on the reality of existence determined by your racial identity. The same is achieved organically, without stumbling or using cliches or sentimentalism as crutches. It is indeed in this confident assertion of its thoughts, the consequent clarity of the message and the eventual realisation of these intentions that the success of the film lies.

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