Mandar wakes up late one afternoon to find himself fully unprepared for a crucial job interview. As his hilarious misadventures with relentless telemarketers continue, the viewer is further introduced to his dismissive, verbally abusive, and brusque manner of handling these phone calls. However, matters come to a head when his path crosses with Nikita, a determined and focused telecaller who has her own goals firmly set. 

The ensuing story becomes entertaining, amusing the viewer with the antics of its characters, while also portraying the importance of a shift in perspective. The tonality remains lighthearted and playful throughout, alongside the chemistry of its actors, which remains equally notable, ensuring that the film succeeds in communicating all of its intentions without weighing itself down.

Have a Nice Day | Spotlight

The viewer’s first glimpse into the film's world is defined by substance use and intoxication. A drug-addled reality soon begins to serve as a metaphor for relationships, intimacy, and most important of them all, love. A woman’s voice takes us deeper into this realm as she engages with all of these ideas and some more. The intimacy of a bedroom is employed efficiently as a physical space to talk of the vulnerability of human emotion, and the many layers that constitute affection and heartbreak. 

The parallel between intoxication and hallucination, and love and intimacy is presented with an earnest performance and carefully constructed screenplay. The tonality and approach to storytelling exhibit deep potential, albeit with a few rough edges. The final result definitely paves the path for more such filmmaking endeavors in the future.

Love, Life, and Everything Else | Spotlight

Ashish Manohar Nagrik is a harried citizen who has arrived at the police station to file a complaint against his foster mother. He is a struggling writer who lives in an overcrowded, cramped corner of Mumbai. As he shares his long list of complaints with a police cop who is both in a hurry to clock out of his shift and intrigued by Ashish’s case in equal measure, a lighthearted, engaging story comes into existence. 

The screenplay and performances are constructed in a manner that ensures that at every point, the viewer is more informed than the confused police officer himself. The narratorial progression also conveys all the film’s intentions with impact, leaving you entertained as well as amused at this seemingly strange conversation, which is taken home with ease.

Maya Nagri | Spotlight

Trigger warning: Sexual assault, abuse, self-harm 

The film presents a hard-hitting story of sexual assault and abuse, but one which also engages with tenderness and affection, and the deep yearnings of the human heart. An exploited and deeply troubled sex worker one day finds herself located between two men, Birju, and an unusual patron called Sajjad. As the story progresses, Sajjad turns out to be far from a patron, and instead is a poet whose poetry becomes an adornment for the protagonist in an otherwise sordid, squalid, and hapless world. Around his words, she weaves dreams of a life away from her current reality. The film develops and handles its plot with maturity and skill. The performances become an unmissable force, one of the strongest aspects of the end result. A few rough edges appear when it comes to the seamlessness of the sound, but the musical choices, on the contrary, add a real flourish to the screenplay, and the developing action before the viewer. The entire cast and crew exhibit immense potential, and the film leaves the door open for more storytelling endeavors in the same vein.

Dobaara | Spotlight

A story of two brothers, and a woman located within this dynamic, the film is an engagement with separation, and how far someone can go in the pursuit of closure. 

When the iridescent Renu returns to meet the brothers, Yuvi and Avi, after five years, she comes with an invitation to her wedding. Thus develops a conversation on past hurt, the compulsions that lead people to make choices they never wanted to make, and the ensuing heartache that gets left behind in their wake. Renu, notably performed and portrayed, may have made mistakes in the past, but now she wishes to amend them, or at least explain the reasons that led to her actions all these years ago. 

The storytelling is taut with tension and something darker that simmers under the surface. The screenplay and editing are constructed with the same control and skill, and keep the viewer hooked right till the very end, when an unexpected development subverts all expectations.

At Last We Said Goodbye | Spotlight

It’s been the end of a long day for a man who works at the crematorium. The narrative soon progresses to reveal how each day at this job is indeed a long one, owing to the very nature of what he does. 


As the protagonist sits down to unwind with a drink and finish the last formalities of the day, he is joined by 50-year-old Haridas, the man he cremated earlier, and thus develops an exchange from the realm of a fantasy-drama. 

The conversations conjure philosophical and existential themes as the two characters discuss their personal tragedies and afflictions. The plot shares all of this without burdening the narrative as the exchange remains seamless and forward-moving. Notwithstanding a little rawness, the end result is an efficient utilisation of the actors and the screenplay, and establishes an unmissable tonality and vision which evidences potential and paves the path for future explorations.

Chitragupta of the Crematorium | Spotlight

Karthik is on his way to his sister’s wedding when his car breaks down in the middle of nowhere. Stretched for time and with no help available nearby, he finds himself making his way to what appears to be an empty temple. Here, his path crosses with a priest. 
The ensuing conversations between the two give the viewer a longer glimpse into Karthik’s character. He is ambitious, self-driven, even offhanded sometimes, and his world remains defined by material pleasures. The two characters thus present a binary between the realms of materialism and its emptiness, and a spiritual existence marked by fewer wants and harmony with nature. 
Though the story remains confined to one night, the brevity of the plot serves to drive the message home deeper. This, in turn, leads not only the protagonist but also the viewer to a moment of reflection, further drawing attention to how wandering away from a usual, well-trodden path sometimes can lead to something far more than one's expectations.

Paywat | Spotlight

As Chitaangya toils away in a field after having been forced to drop out of school by his father, Pashya makes his way to him in a rush. Pashya has very important news for his friend. Chitaangya’s love interest has left the village and moved to the city. Before he dismisses the news, Pashya also informs him that she has left a letter for him. 

What follows next is an endearing and amusing story of procuring a mobile phone, evading parental authority, and somehow still managing to follow a strict father’s orders, all in pursuit of love. All of this is marked by a strong portrayal and performance of the protagonist. However, right before its conclusion, a crucial development totally reverses the tonality, as well as the fate of the protagonist. The storytelling evidences thoughtfulness and attention to emotion. The same approach would be enhanced further if a longer project were attempted in the same vein.

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