In a crucial scene in Vikram Bhatt’s Ghulam quite a few characters participate in a local meeting to discuss the violence in the neighbourhood. There is Fatima (Mita Vashisht), the Muslim lawyer who plays an important role in the protagonist Sidhu’s (Aamir Khan) life. Then we have a Tamilian vegetable seller, and a crippled Muslim man from Uttar Pradesh. And of course Sidhu himself is presented at the meeting as a Maharashtrian identified by his last name Marathe. Taking the context of Bombay’s linguistic and cultural hybridity amidst a compressed landscape of architectural chaos, Ghulam presents the urban crowd not as an abstract force but as a multicultural presence. The presence of the crowd and urban chaos are relationally structured around the Marxist idea of ‘empty space’. By contrasting ‘real’ space (the space of the crowd, the street, and the home) with fetishized ‘empty space’, Ghulam creates a conflictual movement between the ‘everyday’ present and the ‘traumatized’ past. This is most vividly imagined in the scenes on the river-bank (‘ghaat’).