The Good-Bad Man is a film about a character who seeks redemption by attempting to leave his past behind. You can sense that kind of desperation and anxiety in the behaviour of the protagonist from the beginning itself.
He shaves his head in half, his room is in a mess, he is squatted somewhere in a dark alley, as
though in hiding. <br><br> The tainted, bleak production is meant to lend him a madman-sort of a frenzy.
However, despite the efforts of the lead actor, the film doesn’t really see its story through. There
ought to be a method even to all that madness and that’s where the film goes disarray.

The Good-Bad Man | Short Film Nominee

Kore Panney describes itself as a film about a lone wolf’s drive for affection. A muscularly-built vagabond
on the street, covered in vermillion, mumbles at passers by. He returns to a flat, presumably his own,
and watches television. Then he dials a number, and next thing we know he is in a Mumbai local. <br><br>
Due to its experimental approach, however, it remains difficult for the unprepared viewer to keep up with the narrative and all the events that unfold within it. Will the film, then, be able to convey its intentions and concerns to the viewer?

Kshitij Singh Rawat

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