Shorted

The film is a story of hardship and struggle, but also of an uplifting and heartwarming sense of hope. The union of the two is defined by an endearing mother-daughter relationship. Anju and Raani are both hard workers and dedicated to their duties, as domestic help, and as a young student, respectively. 

Raani’s birthday is around the corner and her mother is eager to get her a surprise present, especially after she has just topped her class. However, the people around them, those who are capable of effecting change, are far from letting the duo enjoy some much-needed respite and kindness. The narrative presents all of these obstacles, marked by a tight screenplay and visuals that exhibit complete control. The performances too evidence the same sturdiness, especially that of Anju, and bring to life a complete, balanced story. 

Additionally, there is something to be said about the real-life inspiration that nestles itself within the heart of the story. This one extra layer allows the film to further communicate its message successfully and with impact.

Me, Raani | Short Film Nominee

It is the end of a seemingly long day for an auto driver who now sits and eats his dinner outside his house. His wife is deep in sleep in the darkness inside, thereby forcing him to eat his meal in the light of his stationary auto. 
In this shadowy realm of exhaustion, and constant daily struggle, our protagonist encounters a brainwave, one that convinces him that robbing the affluent house of a patron from earlier in the night, is indeed the answer to all his woes and unfulfilled dreams. 
The subsequent plot weaves a humorous, involving ride that is especially notable in its seamlessness. 

While the circumstance in itself is the disconcerting reality of the vast majority of the have-nots in the country, the film forever maintains its lighthearted tonality. The writing, performance, and the technical aspects of lighting and visuals, bolster the endeavor further, at the same time, ensuring that all its punches land, as well as it remains entertaining and deeply involving for the viewer throughout. Though thoughts that approach you in the darkness of the night might make complete sense in the moment, the same might not hold true in daylight. Whether our protagonist is capable of making this distinction, between dreams and nightmares, thus becomes the question central to the narrative, the answer to which awaits at its conclusion.

Jaagran  | Short Film of the Month

‘Ayak’’s world is constructed with a controlled, and steady hand, taking the viewer into the story gradually, but irrevocably. The sustained pace ensures that even though the dialogue in the film is frugal, you are deeply invested in the fate of the protagonist. Manu has arrived at the Forest of Chithari to perform an age-old ritual that takes place every twenty years. 

The forest is not only the abode of innumerable secrets and unsaid things, but also of forces far beyond Manu’s comprehension. The story that began in ancient Egypt, is about to come to fruition with his arrival for the ritual. Ayak, or the potion that unites one with the gods, is soon presented to him in the most unlikely circumstances. 

As the events unfold, the film puts forth a narrative that is quiet, but stern. It employs no sudden thrills or jump scares to unsettle the viewer, and still ensures that it remains disconcerting throughout. The visuals of the vast expanses enhance it manifold, as do the smooth edit and the screenplay. The seamless weaving of all of these elements allows 'Ayak' to become a beautiful final result that is not simply defined by mystery or thrill, but also by an element of fantasy and something terrible awaiting right around the corner.

Ayak | Short Film of the Year

WINNER, SHORT FILM OF THE YEAR

OFFICIAL SELECTION

SEMI-FINALIST

The biggest strength of 'Tower' lies in the approach and tonality it adopts to share the narrative. The narrative itself, it should be noted, offers an impactful conversation around a serious environmental concern, using a very unlikely circumstance - the love story of a cow herder in a corner of rural India. 


While we may have established the protagonist's location to be a 'rural corner', thanks to the rampant spread of technological advances, even this small village is seeing its fair share of change in the form of cellular services and their accompanying towers.  


Parshuram, or as he is better known in his village, Phalya,  spends the majority of his time either in the fields with his young friend, Jaygya (a naughty, Tinkerbell-esque presence), or navigating and admiring the beauty of birds in his vicinity. Every morning, as Phalya strolls through the expanse, a red bus stops to reveal to the audience his childhood crush, Manju, sitting by the window. Alongside Phalya and Manju's love story, another narrative is developing, one about the disappearance of birds from the former's village.  



After conversing for hours on phone calls, the two eventually decide to meet. Following the rendezvous and a conversation about Manju's academic matters, a startling and concerning revelation is made. As the protagonist chooses to to eradicate the root cause of the dwindling bird population, the constant push and pull between nature and technology is conjured for the viewer. In the process, the film raises a resounding question - have centuries of co-existence been disrupted beyond repair by the advent of modern technology and human activities? At the end of it all, the many elements of the plot are eventually tied together with a strangely heartwarming and uplifting message that ensures that the story concludes with a critical comment about the responsibility of each of us towards the world we live in, a statement that will stay with you long after you're done watching the film.

Tower | Short Film of the Year

Dealing with a topic as sensitive as child sexual abuse runs the danger of easily falling into a space of sensationalism, voyeurism or simple unpalatability. It requires a meticulous and delicate treatment in order to drive its point home, to introduce a possibly unsuspecting or unwilling audience to it, to hone their sensibilities and awareness in the most constructive way possible. If a film makes you sit up and pay attention to your actions and of those around you, to perhaps strive for reform, then a product of art can be considered successful in a significant way. That is exactly what Maunn manages to achieve. 

The film opens with a shot in the dimming light of twilight on a terrace, clearly suggesting the passage of imminent darkness. The plot unfolds to reveal that the couple is quarrelling about sexual abuse of their ten-year-old daughter, Shreya at the hands of their neighbour's son, Dev. We make our way into the house, currently under a power-cut, while the couple continues to argue about their course of action regarding Dev. The muted colour palette and the dimly lit frames remain until the absolute moment of clarity is achieved by the viewer as well as Shreya's father when he finds Dev uncomfortably close to his daughter. The moment is further foregrounded by the end of the power-cut. Light floods back into the room, along with the father's undeniable realisation of his daughter's abuse. 

The crux is reached in the narrative in a forceful manner leaving the viewer unsure of what truly hit them. As they reel with the aftermath, the film succeeds in reiterating the message it had set out to convey at the start. However, how will it influence Shreya's parents?

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