The title presents to you the motif that would become intrinsic to the film's core. Essentially, the story is of Maloti, a woman who works as a domestic help. The character is brought to life by a notable performance that becomes one of the most standout aspects of the film. <br><br>

Alongside the development of the plot are chants and rhymes about goddess Durga whose presence has been a force to reckon with in the household Maloti works in. A life of cruelty and domestic abuse is presented to the viewer with a parallel narrative of a couple that suggests other female presences and their location in society. Tying it all together, however, amidst tears and tragedy is an unmissable act of taking a selfie, one that declares loud and clear the ideas of self and identity to the viewer, while also unpacking the title of the film. 


Selfie | Short Film of the Day

The film aims to draw a contrast between the haves and have-nots by juxtaposing two scenes against each other. First, we are presented with a dinner party. The setting communicates some of the many ways in which a person’s location in society insulated them against the ravages of the pandemic. While one is a scene of abundance, the other is a suggestion of another reality where sustenance and nourishment are extremely scarce. <br><br> A character on the table remains more disconcerted than the others at the awareness of this fact. Our characters are not devoid of a conscience, or at least some sense of moral responsibility, and yet, they remain notably protected in their lives. It is only when the film presents the second scene, devoid of any dialogue, that the juxtaposition is complete. If the premise is explored further in more detail in future works, it would surely serve to enhance the storytelling established in the current narrative.

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