Edible Narratives: Semiotics of Food, Migration, and Identity in the Film Axone

International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 220 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 Edible Narratives: Semiotics of Food, Migration, and Identity in the Film Axone Dr Anjana R B Postdoctoral Research Fellow, Srinivas University, Mangaluru. ABSTRACT Food, one of the most necessities of human life, serves as a powerful medium for narrating human history, culture, familial bonds, migrations, assimilation, resistance, and both personal and collective identities. It provides critical insights into the cultural norms and traditions of individuals as well as the communities to which they belong. Every culture has the capacity to shape and be shaped by the food it consumes, particularly those regarded as staples within its cultural framework. As Roland Barthes aptly argued, food functions as a sign within a semiotic system. The depiction of culinary motifs in cinematography has a rich and longstanding history, offering a lens through which cultural narratives are represented and interpreted. This paper aims to explore the semiotics of food as portrayed in the film Axone and examines how it reflects the cultural and social nuances of the region depicted in the narrative. The study is grounded in Roland Barthes’ theory, which conceptualises food as a language to be decoded. Using this theoretical framework, the research investigates food and culinary practices as subjects of semiotic analysis to uncover the layers of cultural significance embedded within them. The paper provides a detailed examination of how food culture, as depicted in Axone, is intricately interwoven with the lived experiences of migrants, thereby offering a nuanced portrayal of Delhi's sociocultural landscape. Through a semiotic analysis, the study highlights the critical arguments and meanings conveyed through food representation in the film. Consequently, the connotative meanings attached to food in Axone transcend its traditional function as a medium of consumption, emerging instead as a cultural signifier with profound symbolic implications. Keywords: food, ethnicity, culture, migration, Roland Barthes, Axone Food is deeply intertwined with human memories, often evoking experiences of joy, sorrow, achievements, and celebrations. Culinary practices preserve these moments, offering insight into individual and communal identities. Over time, food has engaged with critical issues such as gender, ethnicity, culture, politics, power dynamics, and social relationships, while International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 221 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 also highlighting regional specialisations. Everyday food reflects cultural norms, shaping and being shaped by traditions and staples within a community’s cultural framework. Patterns of eating, dining rituals, and preferences offer valuable insights into human society and social structures. In literature and the arts, food has served as a recurring motif, providing symbolic depth and narrative function. From prehistoric rock carvings to biblical texts like the story of the fall of man, food has been a significant subject of expression. Since the inception of written language, food has inspired countless works, functioning as a plot device, a means to develop character, or a reflection of cultural practices. Its omnipresence in literary works underscores its elemental role in human life and culture. The relationship between food and critical theory is longstanding. Platonic dialogues first explored the philosophical dimensions of food, while structuralist criticism, influenced by linguistics and anthropology, further contextualised its role. Ferdinand de Saussure, a pioneer of structuralist linguistics, introduced the concept of ‘signs,’ comprising ‘signifiers’ (words) and ‘signifieds’ (meanings), which collectively form the basis of language and communication. According to Saussure, language derives meaning through agreed-upon relationships among signs. Roland Barthes, in Elements of Semiology, expanded Saussure’s framework, highlighting that signs extend beyond language to encompass broader cultural and narrative texts. Barthes also referenced Roman Jakobson’s concept of ‘duplex structures,’ which describes paired terms such as signifier/signified, language/speech, and code/message. Structuralist criticism broadens Saussure’s and Barthes’ theories by applying the concept of signs to all forms of communication, including literature, art, and culinary practices. Food, as a semiotic system, reflects cultural codes and symbols, making it a potent medium for International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 222 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 exploring human society. Its depiction in literature and arts emphasises its dual role as a means of sustenance and a cultural signifier, revealing its enduring influence across history, criticism, and artistic expression. Drawing from semiotics and binary coding, Barthes viewed structure as a simulacrum of the object—an intentional and directed imitation. According to Barthes, the simulacrum reveals meanings that may otherwise appear invisible or unintelligible in the natural object. For instance, an image of an apple signifies the meanings associated with a real apple. Thus, any work of art can function as a ‘signifier’ within a language system, much like how the word ‘apple’ represents the fruit. Barthes’ initial focus on semiology and linguistics eventually broadened to include literary and cultural criticism, driven by his perception of culture as a form of language. In Elements of Semiology (1964), Barthes argued that the general concept of ‘language/speech’ encompasses all systems of signs, extending beyond verbal communication. Food, for Barthes, is one such system of non-verbal communication. He described food as a ‘signifying system’ governed by rules of exclusion, binary oppositions (e.g., sweet vs. sour), rules of association, and rituals of use, which collectively create an ‘alimentary rhetoric.’ These ideas reflect the influence of Lévi-Strauss’ binary codes on Barthes’ work. Barthes observed that food functions as a language, with menus acting as structured systems of communication. Dishes have specific locations and meanings within a menu, while individual dishes and their sequence operate as syntagms, analogous to words in a sentence. Personal tastes and culinary practices, in this framework, are comparable to linguistic idiolects. Food, therefore, is not merely a collection of nutritional products but a system of communication shaped by preparation, sensory perception, and social contexts. His analysis extends to the cultural and sociological dimensions of food. He illustrated this through examples such as the transformation of bread: ordinary bread signifies everyday life, while International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 223 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 milk loaf evokes festivity, and brown bread paradoxically becomes a symbol of refinement. These shifts highlight how food can signify broader cultural dynamics. Barthes also explored oppositions like bitter vs. sweet or crisp vs. soft in different contexts, illustrating how food grammars vary across cultures. His approach to food as both substance and language provides a coherent framework for analysing its mythology and semiotic significance. Food, as an expression of cultural identity, becomes particularly significant for migrants. Cooking traditional food allows migrants to preserve their cultural heritage in new environments. This is poignantly illustrated in Axone (2019), a Bollywood film that portrays the experiences of Northeast Indian migrants in Delhi. The characters attempt to reclaim their identity through traditional cooking while facing racial discrimination. The film highlights the challenges Northeast Indian migrants encounter, including limited educational infrastructure, unemployment, and socio-political unrest in their home region, which compel them to relocate. In these new spaces, their distinctive physical features and the smell of their fermented traditional food often make them targets of racial prejudice. Despite these challenges, food becomes a powerful means of cultural preservation and identity assertion, underscoring its role as both sustenance and a medium of communication. The movie Axone: A Recipe for Disaster poignantly portrays the everyday challenges faced by Northeastern migrants in India. This stirring satire revolves around a single day in the lives of a group of Northeastern friends living in Delhi. They attempt to surprise one of their friends on her wedding day by preparing a traditional dish, only to face numerous obstacles stemming from societal prejudice. While cooking with friends might typically be an enjoyable activity, for these characters, it becomes a contested act as their landlord and neighbours judge them for trying to uphold their cultural traditions. The film vividly captures the lived experiences of Northeastern migrants residing in the cramped lanes of Munirka and Humayunpur in Delhi, intertwining themes of racial bias, cultural identity, and social International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 224 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 aspirations with the imagery of food. For migrants who have left their homeland under compelling circumstances, maintaining their cultural heritage becomes essential. One of the most tangible ways to preserve tradition is through food. Axone effectively highlights this connection by centring its narrative around the preparation of a traditional dish. The film’s title itself references a quintessential ingredient in Naga cuisine, known as axone or akhuni, a fermented soybean product. Derived from the words ‘axo’ (aroma) and ‘ne’ (deep or strong), axone has a pungent smell that is often deemed unacceptable by those unfamiliar with it. By naming the film after this ingredient, the narrative underscores the cultural significance of food for Northeastern communities. Food, akin to language, serves as a vehicle for expressing culture. It is both a biological necessity and a symbolic cultural artefact, connecting individuals on multiple levels. As such, food acts as a mechanism for expressing identity and fulfilling social purposes. In Axone, food embodies the identity of the Northeastern characters. By preparing a traditional dish, the characters inadvertently assert their cultural identity. The opening scene of the film establishes this theme: Upasana, in a state of urgency, is seen running through the relatively empty streets of Delhi to procure the necessary ingredients. Alongside Chanbi and Zorem, she embarks on a discreet mission that is initially framed with the secrecy and anxiety of a covert operation. This portrayal highlights how their cultural practices are met with societal disapproval, forcing them to hide their identity as Northeasterners. The fear and hesitation exhibited by the characters reflect the insecurities faced by members of minority communities. The transformative journey of the characters culminates in a powerful reclaiming of their identity. Towards the end of the film, Upasana, Chanbi, Minam, and their friends wear traditional Northeastern attire and walk through the streets with pride. This stands in stark International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 225 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 contrast to the earlier scenes, where the characters moved hurriedly and cautiously. The change is accentuated through low-angle shots, emphasising their newfound confidence. The streets, once a site of judgment and fear, have now become a space of celebration and assertion of cultural identity. The characters' success in preparing their traditional dish symbolises their triumph over societal prejudice, instilling in them the courage to stand tall. The shift in the landlady’s attitude—from initial opposition to defending the characters against neighbourhood mockery—further serves as a symbol of societal hope and acceptance. The film also delves into the broader multicultural fabric of Delhi. As the capital of India, Delhi is home to people from diverse regions and backgrounds, embodying a microcosm of the nation’s diversity. Despite its cosmopolitan nature, the city’s social dynamics reveal underlying biases. While Delhi’s modernity and openness are evident in its acceptance of gender equality and changing family roles, these progressive aspects coexist with instances of racial discrimination and cultural insensitivity. For instance, the character Zorem’s participation in cooking axone—traditionally a female-dominated activity—is portrayed without any ridicule, reflecting the evolving attitudes toward gender roles among the educated urban population. However, the intrusion of caterers, representing a less progressive segment of society, highlights the generational and class-based disparities in accepting modern ideals. Food imagery in Axone serves as a powerful narrative device to explore a range of emotions and social issues. The absence of food consumption by the Northeastern characters throughout the day symbolises the tension and uncertainty they face. Conversely, the act of cooking axone for Minam’s wedding becomes an expression of love, friendship, and cultural pride. Zorem’s involvement in the cooking process underscores his affection for Upasana and his sense of belonging within the group. Similarly, Shiv, the Delhi boy, establishes trust International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 226 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 and solidarity with the Northeastern characters by aiding them in their endeavour and partaking in their food, despite its unfamiliar taste. These acts of sharing and acceptance highlight the potential for food to bridge cultural divides. The film also addresses the persistent issue of racial discrimination faced by Northeastern women in metropolitan cities. According to a study conducted by Jamia Millia Islamia’s Centre for North East Studies and Policy Research in collaboration with the National Commission for Women (NCW), 60% of Northeastern women in major Indian cities report experiencing racial discrimination, with Delhi being one of the most intolerant cities. This systemic prejudice is depicted in the film through instances of slut-shaming and verbal abuse faced by Chanbi and other characters. Notably, these scenes often feature food in the background, symbolising the insecurities and struggles of the characters. Axone foregrounds food as a complex semiotic medium through which identity, cultural pride, and social belonging are articulated. By centring the lived experiences of Northeastern communities, the film challenges mainstream marginalisation and amplifies voices often rendered invisible. Culinary practices function not merely as sustenance but as markers of heritage, instruments for coping with displacement, and tools for fostering interpersonal and intercultural connections. The characters’ journey—from concealing their identities to asserting their cultural presence—demonstrates the transformative potential of food as both a site of resistance and affirmation. The narrative illustrates how traditional cuisine sustains cultural memory, negotiates diasporic existence, and mediates the complexities of life in a multicultural metropolis. The film celebrates resilience, showing how culinary practices operate as powerful mechanisms for asserting belonging, negotiating identity, and safeguarding communal heritage amid social marginalisation. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 13 October 2025 Received: 12 October 2025 227 Revised: 25 October 2025 Accepted: 30 October 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17505023 References Axone. Directed by Nicholas Kharkongor. Performance by Sayani Gupta, Saregama India Yoodlee Films, 2019. Barthes, Roland. Elements of Semiology. Translated by Annette Lavers and Colin Smith, Hill and Wang, 1972. Kaplan, Charles, editor. Criticism: The Major Statements. 2nd ed., St. Martin’s, 1986. Lauretis, Teresa de. Alice Doesn’t: Feminism, Semiotics, Cinema. Indiana University Press, 1984. The Holy Bible: New International Version. Zondervan, 1973. Young, Deborah. “