A man is on the brink of turning fifty with preparations for an imminent birthday party in full swing. However, this happy occasion is marked by a recent tragic loss, the death of a close friend in the most unexpected manner while playing cricket. As days pass, the protagonist, AK’s reality becomes increasingly plagued by nightmares involving Yamraj and his companion, Chitragupta. 
AK now finds himself face-to-face with overwhelming existential questions, those about the meaning of life, or worse, a life not fully lived. Interestingly, in a film about death deities and all that they entail, it is AK's wife that the story paints as the antagonist. Dismissive to his woes throughout, she allows him little space to voice his apprehensions and anxieties. His friends, therapist, colleagues, and professional seniors, everyone offers him an opportunity of some sort to speak his mind, but the wife remains rigidly close to her own opinions even when AK is talking of a possible burnout. 

In the face of it all, AK’s struggles continue. He grapples with a feeling of emptiness that money, success, worldly luxuries, and material success cannot mitigate or fill. His dilemma about whether or not to continue his job as the CFO of an important bank is nestled at the heart of his life, and there are no answers to be found every time Yama visits him with his loyal companion. The film presents a heartfelt endeavor on the part of its cast and crew. Eventually, it concludes with a final flourish in the form of an unexpected end that increases the impact of the conclusion notably.

Yamraj | Short Film Nominee

The narrative is an endearing, heartwarming story of creative passions, and the significance of the pursuit of one’s dreams. However, practical demands, and responsibilities often get in the way of following the heart’s calling, and the film is a devoted and entertaining portrayal of the same. It takes us into a household where the children are deeply passionate about everything, but their academics. 
On the contrary, their father has a long subdued yearning for filmmaking, but he has muzzled it while taking care of his worldly duties, or as he often calls it, the need to “put food on the table”. The film becomes an effervescent overlap of the two currents, the children and their father. Though the visuals exhibit a little inconsistency, the treatment, approach and tonality of the end result, all evidence potential and the desire to share a story.

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