Set in a location with few distinguishing qualities, in lieu vague, Samuel Beckett’s spare, minimal Waiting for Godot (1953) is in many ways an ideal transcultural text, easily adaptable to different geographical, cultural, and linguistic contexts. Using the play’s basic premise—two men wander an apparent wasteland interminably awaiting the arrival of a third character—as a starting point, Ashish Avikunthak’s seventy-nine-minute film Kalkimanthankatha (The Churning of Kalki), 2015, transforms Beckett’s absurdist postwar “tragicomedy” into a subtle postcolonial reflection on the idea