Long, uncut shots take us into the world of ‘Tamashbeen’. It opens on a lighthearted note where a man shares a tale of a childhood infatuation that ends in tragedy as adults take charge of this reverie. 

The physical space remains fixed, marked by clutter and a sense of something unsettling about to make its presence felt, even if the narration presented by the protagonist, the film’s sole character, remains easy and swift flowing. Once again he takes us into his tryst with romance, only to be met with a similar fate before hope could spread its wings any wider. 

The performance remains the strongest force of the narrative, constantly pushing it forth, along with camerawork and the surroundings to complement it all. As the conclusion arrives, the film’s title too is realized, ensuring that the story of the man who has continued talking to his reflection all along stays with you long after you are done watching it.

Tamashbeen | Short Film Nominee

A novelist Manmohan is grappling with a writing endeavor when he receives the most unexpected phone call one day. Stationed in the office of a friend while he is out of town, the protagonist only has his thoughts and words for company until this call changes everything. The voice of a woman on the other side captures his existence entirely, leading him down a path of love and adoration from where there is no return. 

The woman, seemingly sincere in her devotion to the novelist, calls him every day while busying herself with adornment, teasing, and an affectionate attitude toward the receiver of all her calls. As the conversation develops between the two, the writing exhibits seamlessness and ease, employing metaphors and poetic expressions to embellish itself. 

Set in the post-Partition era of the twentieth century, the film acquires a softness that defines it. With Urdu at its core and an overall influence of Hindustani sensibilities, it remains consistent in its developments. 

Despite a few snags within production, specifically in the sound department, there is an unmissable chemistry between the two actors. Irrespective of their fate as lovers, the romance and intimacy between them achieve completion within the narratorial progression. The end result keeps the viewer engaged throughout, simply by the verbal exchanges of its characters, deliberately devoid of any other external action, allowing the film to come together cohesively at its conclusion.

Shekhar Ujjainwal

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