Bablu lost his parents during the migrant crisis that took place when millions of workers tried to return to their homes and native villages during the COVID-19 pandemic. Though the film premises itself on a reality as dark as this, the story it offers is one of hope, dreams, and in the process, of upliftment. 
The inevitable and consequent contrast proves impactful in driving the narrative’s message home. The screenplay and its many characters are constructed thoughtfully to ensure that even though at first glance the reality might require a slight suspension of disbelief, for instance, a group of kids playing football minus any adult supervision, the eventual conclusion of the film, reinstates all logic and rationale in the plot progression. 

Bablu works at his uncle's dhaba but harbors an innocent dream amidst it all - the dream of playing football like all the other more fortunate kids around him. As the two realities overlap, the film presents a story that is sure to stay with the viewer long after they are done watching the film. Though not devoid of limitations that might sometimes afflict a project spearheaded by young actors, the storytelling, visual structure, and world-building exhibit skill and finesse.

Kaash (If Only) | Short Film Nominee

Thorny plants, peeling walls, and some other dying corners of a house establish the tone of the film for the viewer. A sick man lies bedridden when he is visited by a concerned, panicked well-wisher. The man instead focuses on a plant called Junie, and continues to dismiss the entrant’s anxiety. As the story proceeds, a world marked by chronic illness, loss, grief, and immense tragedy is invoked by the viewer. 
The screenplay and performances remain tightly intertwined as one to bring forth an expert end result. The emotional spectrum is achieved with skill, offering the viewer a glimpse into relationships and familial bonds that are messy and overburdened with all kinds of complexities, and yet, they remain the most unexpected as well as powerful source of comfort.

Junie | Short Film Nominee

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 | Short Film Nominee

Soon after it opens, the film presents a desperate knock on a door, one that sets the tone for what is to come, and what the thematic explorations are going to be. As Adamya stands at a literal doorstep, it also becomes a metaphor for his struggles as a student and son. After having performed poorly in his exams, he now battles the wrath of disappointed parents, as well as his own internal emotional turmoil. In the process, the film presents a sincere endeavor in engaging with how expectations to conform to the norms of society, in this particular case, of being a good student, can be extremely overwhelming. The narrative further invokes a conversation on the effects of all such stressors on mental health, and the crucial role an accepting support system can play. The storytelling experiments with its edit, screenplay, and plot construction, alongside being supported by an earnest performance of the protagonist, in portraying all of these ideas for the viewer.

Dastak | Short Film Nominee

Two people discuss a tragic life event, the loss of their child, within the confines of a car. The film presents a smart use of a controlled space to bring its multilayered reality to life. The two talk about grief, regret, letting go, and the reminder that they did their best. 
At first glance, a story of grieving parents comes to the fore, supported by the easy chemistry of its actors. However, the film develops to present a far more sinister reality. For the careful viewer, the narrative drops hints all along on its way to the eventual climax and conclusion. Despite a slightly rough edge or two in terms of the screenplay, the writing and storytelling become the strongest aspects of the film. This is coupled with the aforementioned visual landscape that squeezes the most out of a limited circumstance, endeavoring to pack a full punch in a brief duration.

Let Him Go | Short Film Nominee

It is late into the night when a woman opens her house to an unexpected guest, a man who is wondering if she could serve him some food. As a hesitant Indu opens the door, allowing him into her small dhaba, the narrative deliberately perplexes the viewer as to why a sheep would willingly let the wolf deeper and deeper beyond the threshold. With Indu’s husband’s gone to the nearby city, and no children in the marriage, she is completely alone and at the mercy of the man's malicious, seedy intentions. 

The film, borrowing its name from the iconic Hindi song that the protagonist hums, portrays all of this with notable performances, alongside the clear intent, and desire to experiment with its visual grammar. The end result succeeds in creating a sense of poetic justice, while also drawing upon the elements of thrill and horror. Additionally, it subverts the idea of who is a victim and who they victimize, paving the path for more similar storytelling endeavors in the future.

Bekarar Karke Hume... | Short Film Nominee

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 brings to life the fevered dream of a protagonist afflicted with insomnia. He hears voices, one of them becoming louder than the other, and in the process, consuming his consciousness with an all-encompassing philosophy. The screenplay is constructed with the same sense of otherworldliness to portray it all for the viewer, alongside a notable performance and voiceover. 
The storytelling is defined by a sense of abstraction, presenting a narrative that chooses metaphors over straightforwardness. It demands of the viewer their full attention and absorption in the realm of the film, much like the very reality of the protagonist that now completely defines and controls him.

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