The film follows a nonlinear trajectory in its plot and narratorial progression. The intent behind it is to show the significance and the potential of an unlikely moment of bonding between two even more unlikely characters. 
The story opens with a grieving father’s despondency and hopelessness after having lost his son. His wife had passed before the son’s passing, now leaving him completely alone and broken. After introducing this circumstance, the film presents Chaitanya and his jolly group of friends on the day of Diwali. 

The way the two narratives overlap thus becomes the primary driving force of Aamhi Doghe (Two of Us), a movement achieved with skill and thoughtfulness. In the process, it also offers a story of battling grief, coming to terms with it, and finally giving yourself permission to let go. All of it is further supplemented by strong, remarkable performances that ensure that the film’s intentions are realized and presented to the viewer with sincerity and impact.

Aamhi Doghe | Short Film Nominee

The film first adopts a first-person narrative to present a reality marked by noise, chaos, and the inability to reconcile the meaning of existence. In his pursuit of this meaning, the protagonist makes his way to an isolated spot with a small, tumbledown cottage where the rocks boast of unmissable art. The examination of this circumstance leads him to a woman, the artist who has braved an unfathomable tragedy, one whose trauma can only be expressed by drawing on these rocks as she tightly holds on to her veil, also the most pertinent echo of the film’s title within the plot. 

In the conversation that ensues between the two characters, the writing, screenplay, and visual development employ an experimental approach, while coupling it with poetry to talk of suffocation, of imprisonment, and how it comes in more than one form. As the metaphor of a veil is tied with confinement, whether visible to the eye or hidden deep within our soul, the thoughtful narrative of the film is shared with the audience.

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