Three orphan boys, who somehow fight back the many obstacles of penury to survive, one day scrap enough money to visit the local carnival. As Monty, Kamal and Kunnu reach the fare, little are they aware of how an entry ticket too has to be bought first.


 Spending all their money at the entrance itself leaves them with none for rides or other colorful, dazzling attractions the space holds. As they move from one mini-adventure to another, vicariously enjoying the fare through other patrons, while also longingly staring at the families and children who got dealt a better hand at life than them, the visit nevertheless becomes full of surprises and twists. All of these visuals enjoy the portrayal they deserve with sophisticated camerawork and a judicious use of a very young cast.

 Things finally come to a head in a high-paced chase scene which completely alters the course of the night, and perhaps, also the lives of the little boys. As the older boy comforts the younger one with truths he is not entirely sure of himself, the viewer is allowed a poignant moment where a child is deprived of the innocence of childhood, and forced by the many cruelties of the adult world to acquire the role of the protective caretaker. This protectiveness is evident right from the very start; the undeniable sense of the three of them against the world pervades the plot throughout, allowing us an endearing story of friendship, camaraderie, but one which is cut too short too soon by tragedy.

Mela | Short Film of the Month

The film offers a very involving, skilled narrative that presents its many developments at a gradual, organic pace. The story is constructed with care, ensuring it remains imbued with thrill as well as a shocking progression of events in the most unexpected manner. 

However, the world it conjures to share all of this with the viewer, at first glance, is far from it. It’s simply a conversation between two sisters until one realizes that the space is rife with resentment, bitterness, and a constant threat of violence. 

Anu has walked out on her relationship in the middle of the night, asking her sister to come pick her up. Even in the face of the darkness of an empty, lonely corner of a street, or gawking strangers, or a little-too-inquisitive cops, she is undaunted. The same resilience is present in her elder sister as well. When these elements and characteristics are tied together neatly at the film’s conclusion, supplemented by the chemistry, and notable performances of the two actors, they present a story of far darker occurrences than the viewer might have expected at the beginning.

Anu Aur Di | Short Film of the Day

More than anything, Beediwaala is an exploration of different ideological ways in which you could approach the same situation. While a crime and the criminal committing it are never born in isolation, to what extent can society be blamed for it? Where does the responsibility of the collective end and that of the individual begin? With strong performances by its two lead actors, the film delineates the story of a delinquent young boy and what happens when his path crosses with a ruthless police officer. With good writing, smooth flow of the narrative and deliberately dim-lit frames, against the background music of the bhajjans of a seemingly indifferent God, the film succeeds at being a satisfying product for its audience. Having said that, it could be added that it would have benefitted from a more sophisticated visual quality.

Beediwala | Short Film of the Day

The most notable aspect of the film is the performance by the protagonist which is innocent and endearing in equal measure. However, beneath the chirpiness, a darker reality lurks, one which is same as that of innumerable households, especially during the coronavirus lockdown. The story also makes a subtle comment about systemic patriarchal oppression, and sometimes by women themselves who may have experienced a similar fate in their own lives as well.

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