The film is a lovely comment on the futility and obsolete nature of some institutions and belief systems that constitute our society. It does the same not by being self-indulgent or mawkish, but by simply presenting a single conversation between two women. As a job interview is executed, the film’s intentions are allowed articulation. 

The plot remains lucid and engaging throughout, while also making all its intentions clear in a concise and crisp manner. The job interview itself is not one that the viewer would expect, and it is in this first sense of surprise, or perhaps even unease, that the message of the film is pronounced loudly and emphatically.

Not Done Yet | Short Film of the Month

Manorath, which translates to desire or heart's hope, is a lovely, quiet story about an overlap of urban and rural sensibilities, the fleeting moment when they seem to have reached a common plane and the swift shattering of this space. The storytelling adopted to communicate the thought is not one marked by garishness or loud devices. Instead, in the same vein as that of a soulful Rabindranath Tagore narrative, for it is indeed The Postmaster by him that serves as the inspiration for the short film, it conveys its intentions and motivations. When a photographer visits a village for a work project, he finds himself striking an unlikely friendship with a ten-year-old girl. The latter helps the former make some sense of a territory formerly unknown to him where the only pass-time available is to visit a nearby river. However, despite his sleek gadgets and experiences of a city-life, he is unable to grasp how little these things mean for a girl who only seeks friendship and affection, and not any material gains he might secure for her. The film is notably lucid in conveying the same, leaving no doubt in the viewer's mind about its core message, in the process, allowing itself to be a successful final result.

Manorath | Short Film of the Day

The film opens on an oppressively despondent note. All of us at some point have felt the overwhelming burden of a rut, of a mundane life that is constituted by living the same day over and over again. Our protagonist is located at the heart of one such circumstance. 
Even on his birthday, the emptiness and isolation of his lackluster life have left him drunk and alone in his car. However, when his path crosses with two men in an unlikely manner, a story of thrill and foolhardy behavior commences, a story that is never devoid of humor and inherent bonhomie. The two constantly define the situation as the protagonist now finds himself celebrating his twenty-ninth birthday with four men living a life vastly different from his. 
The chemistry of the actors, and the performances they bring to life, embellish the film markedly. The result is an honest glimpse into a problem that often plagues urban existence, and presents storytelling, and world-construction that exhibit deep potential and must be explored further in future projects.

Until Today | Spotlight

Inspired by Premchand’s namesake story, ‘Kafan’ locates itself far from the twentieth century, and in the contemporary coronavirus-ridden world instead. The story opens at a moment of tension, presenting to us a very unwell woman in Budhiya, as well as the plight of her worried, frantic husband, Madhav. 

As a frenzied quest begins to secure urgent medical aid for Budhiya, the film offers comments on privilege, the access the affluent enjoy in hospitals during a crisis, and at the end of it all, on death, the great leveler. At the same time, there is also a reminder that while death and the pandemic might be indiscriminate in who they choose to claim as their own, the poor and the underprivileged still have immense obstacles to overcome at every step, including death. 

The final product of 'Kafan' boasts notable performances, especially that of the protagonist in Madhav, and in a brief glimpse of an unnamed character. This is further coupled with subtlety and uniqueness of voice in the reality and commentary that it brings to life.

Kafan | Short Film Nominee

A woman arrives at an unknown location, all by herself, to meet a strange man. This is the image which is offered to the viewer right at the start of the film. She is unsure, worried and deeply afraid of something, and yet, she continues her endeavor - interviewing a serial killer, a mentally unbalanced, deranged man who has a past of violence, both inflicted on and by him. 

The film employs a limited physical space, the entirety of the conversation unfolding without the characters moving from their position right until the end. And yet the fear and unease that the narrative manages to instill in the viewer is powerful and notable. Consequently, Atrangi becomes a product that simply utilizes its writing and performances to invoke an atmosphere of horror. 

 A sense of something sinister being afoot never leaves you throughout the film, making you deeply concerned about the fate of the woman who sits before this man who, on the other hand, is recounting all his crimes and acts of cruelty with absolute nonchalance. It is in this use of few resources, minus any garish tools and devices, to successfully communicate its story, that the true success of the film lies, keeping you engaged and involved all along. The film could have gained from more control on the lucidity of its visuals. However, the uncertainty about the fate of the characters preoccupies you instead of its technical aspects, further ensuring that when the revelation finally arrives, it is a conclusion befitting the premise set so far.

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