A woman is getting late for her train, and as she waits for the cab on the side of the road, she runs into the most unexpected person from her past. Rahi finds herself face to face with Arjun, her first love with whom she had had a relationship of several years before its abrupt end. However, none of this is revealed to the viewer right away, and instead, we are presented with Shaurya, Rahi’s current partner. 
As the three are confined to the car ride, the story develops. In the process, the narrative invokes first loves, mistakes, regrets, and what it means to be consumed by another person. Much of the visual development takes place in the rearview mirror of the car, a notable deliberate choice of the film. There is also the attempt to present an interaction between two men that is controlled and mature, unlike the sense of aggression and chaos that often plagues such equations in media. The end result comes across as being sincere, heartfelt, and thus, in some aspects, endearing as well.

Time Machine | Short Film Nominee

Triple talaq, before it was abolished by the Indian government and declared unconstitutional, was a malpractice that ruined lives of innumerable women. The act of giving instant divorce to women by simply saying "talaq" thrice, be it even in a letter or over a phone call, deprived them of any and all agency regarding their fate, and often that of their children. Additionally, it often allowed men to wash their hands off a responsibility by simply uttering a word, without any reprobation or legal action against them. The film shares the story of one such woman and the struggles of raising her son as a single mother after the husband left her behind for seven years, divorcing her via a letter after five years of this separation. The narrative offers an empowering, useful comment for women who may have suffered a similar fate as that of our protagonist. Additionally, it is marked by a satisfying closure towards its conclusion with a pertinent message about letting go of your past and moving on. There are moments in the film when the dramatisation of a Muslim identity and household gives in to sentimentalism to the point of endangering authenticity of their language and daily conversations. However, it pulls itself together by the second half which is marked by smoother performances, dialogue, visuals and edit.

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