Much like people, how a film makes you feel, can often be a good index of judgement. Does it disturb you? Good. Does it trigger a spell of melancholia? Better. Throw in a little pathos and poignance and voila! The film has managed to become a successful work of art. If the purpose of art is to reform society, what better way to invoke deep sentiment in its audience that leads to corrective measures and actions?

<h2>'The Illegal' achieves a similar space, even if not going all the way. It tells a story which is sure to stay with you, in a deep recess of the self, long after you're done watching it. What starts as an exciting story of hope and possibilities concludes with a heavy residue of human emotion that absolutely refuses to leave. </h2>

The narrative offers a critique of the American dream, an idea pervasive enough to have spread its roots all over the globe, securing itself a deeply entrenched space in India as well. A young boy from Delhi has landed himself a place in his dream course at an unnamed, but established to be an immensely reputed film school in the US. <br><br>

However, before you get too comfortable with the idea, our protagonist Hassan has his first encounter with hostility at the airport itself, an omen of what is to come. The narrative brings in a suggestion of using light and colours, primarily red, to invoke those forces, both within (Hassan himself) and without (other characters), which will obstruct Hassan’s way to achieving his dream of becoming a filmmaker. Interestingly, it would mostly be his fellow-immigrants who become the biggest challenges to be tackled with. <br><br>

This is perhaps also the first time when there is a direct echo of imminent events and the direction the narrative is headed in a film titled 'The Illegal'. The blurry lens gains some clarity on the horizon of expectation which has already been put in place for the viewer. From then on, it is only a matter of time until the inexorable movement of the narrative, as well as the viewer, find themselves at a point of no return.
On the first night of his arrival in Los Angeles, Hassan finds himself without a home, and thus begins the spiralling down of his plans and hopes. 

<h2>The film does a wonderful job of capturing and translating to screen the turmoil, apprehensions, fear and the absolute, invincible need of a twenty-something-boy to make things work. </h2>

Despite the heady cocktail of everything that Hassan undergoes, there is never a sense of heaviness or disorientation. The story keeps the viewer deeply involved throughout.

<h2>Another strong aspect of the script lies in its exploration of the contrast in Eastern and Western values, and how the two attempt to conflate (in a doe-eyed, inexperienced protagonist), yet prove to be too starkly different to be even remotely similar (in Hassan’s realisation of how far his lived reality in the US is from what he had expected). </h2>

'The Illegal' does a beautiful job of tapping into several emotions in the right measure, and seamlessly weaves together wonderful performances by Shweta Tripathi, Adil Hussain, Iqbal Theba and the effortless Suraj Sharma. Sharma brings to the screen wide-eyed wonder and innocence which makes the story more heartbreaking. Irrespective of his naïveté and mistakes, you still find yourself rooting for him till the very end because dreams may come true at any point, but will they for our protagonist?


<br/><br/>
<b><i>Written by <span class="text-gradient">Rosheena Zehra</span></i></b>


The Illegal | Review | Suraj Sharma, Shweta Tripathi, Adil Hussain

Based on a short story by Ruskin Bond, The Black Cat by Bhargav Saikia portrays an interesting turn of events starting from a day in Bond's life. Played by Tom Alter, Bond comes in possession of a broomstick which is soon accompanied by a black cat turning up at his doorstep. His misadventures with the kitty keep the audience involved, while also invoking a sense of sympathy for the harried writer. <br><br> Soon after a Ms. Bellows follows, claiming the cat to be hers, and our protagonist is more than grateful to hand over the kitty to his unusual guest. The narrative offers interesting characters in the form of both Alter as Bond and Shernaz Patel as Ms. Bellows. <br><br> The beautiful camera angles lend an otherworldly quality to the film, equally supported by an eerie soundtrack. Along with Anglican influences in the form of costumes, language and the general lifestyle, The Black Cat also possesses an element of the supernatural, characteristic of much of Bond's writing. This is achieved by elegant special effects which, when coupled with a seamless edit and sophisticated visuals, make the film a thrilling watch.

The Black Cat | Tom Alter | Short Film of the Day

The music video juxtaposes the highs and lows of love for a couple which is drowning in the intensity of its own emotions. With the magical vocals of Prateek Kuhad, the song becomes a very poignant take on romance which is fierce, passionate and sometimes, heartbreaking. <br><br> Following in the footsteps of many artists before him, a recent example being that of Ed Sheeran, Kuhad also makes a cameo in the video. With the depiction of the cyclical nature of relationships, Cold/Mess makes the viewer conclude that though love can be overwhelming, suffocating and bitter, it's also tangy and sweet and something worth a try, much like a lemon tart.

Cold/Mess | Short Film of the Day

How far are you willing to go to punish someone for infidelity? Would you go down the road of vengeance to never return or would you drive away to indifference, and move on? <br><br> The short film raises these questions with notable performances by Kalki Koechlin and Monica Sharma Dogra, but at the heart of it lies a much darker reality. Along with an engaging climax, the film also offers a deep comment on gender roles. When Kalki's character accuses her husband of cheating on her, he dismisses it as being thoughts of an imbecile, "a fifth grader". The narrative also invests its energy in portraying her as a woman struggling with potentially neurotic behaviour. The fact that despite his cheating, he confidently writes her off could perhaps suggest that her psychosis was a result of his behavioural patterns. Maybe when she accused him of cheating only after a seemingly inane encounter, her anger and distrust came with a massive baggage of a past where he had constantly denied her narrative, making her question her own reality. Would it be too far to suggest that, like as is true of many heteronormative romantic equations, there was an element of gaslighting involved in this equation? If indeed yes, the ending would leave the viewer with a sense of closure. What happens when she has had enough of the same dysfunctional, toxic, soul-sapping relationship? The short film has a satisfying answer.

The Thought of You | Short Film of the Day

The opening scene is a tight close up of a worried man whose wife has ended up in an accident and broken her leg. The narrative does a good job of drawing in the viewer into his distress, only for an unexpected turn waiting for them as it progresses. <br><br> The film employs a black and white palette at the beginning and experiments with colour transitions. Additionally, it is endearing and simple - two things that work best for it. Another strength lies in the fact that it does not try to be anything it's not. There is also a wonderful celebration of love for the romantic in all of is that will leave you with warm fuzzies inside.

Platinum Excuse | Short Film of the Day

The video is the most surreal splash of colours, light and movement thrown in together in a carefully crafted manner. The visuals are supplemented with a psychedelic score which further allows the narrative to maintain its tone and vibe. Needless to say, one of the biggest strengths of Blow is its stunning camerawork and meticulous control on light. <br><br> Not even a single shot is accidental or one which is not adding to the entire experience in some manner, ensuring that all of it comes together into a wholesome, balanced product. Additionally, the visuals ooze a visceral sensuality which results in it being a far more engaging interaction with its audience than it would have been otherwise. On the whole, the video is a dreamy, unpredictable ride for the viewer to gauge from one transition to another, enjoying the process of getting more and more involved with every passing moment.

Blow | Short Film of the Day

The documentary introduces us to a powerful subject, Nihad Panju, who not only holds an intimidating world record but also carries within him a story impossible to look away from. After a serious illness as a baby left him battling partial paralysis, Nihad’s life was defined by long years of isolation, hard work, the many sacrifices and compromises that his ever-supportive family made, alongside discipline, perseverance, and the vehement refusal to quit. <br><br>

Overcoming the toughest odds, Nihad now holds the world record of being the fastest runner with hemiplegia to complete a half marathon, in addition to leading a deeply fulfilling and meaningful life. The visual and narratorial progression of the film does a notable job of capturing all of these emotions. In the end, the story that the viewer is presented with is one of hope and the indomitable nature of the human spirit, allowing the film to succeed in the communication of all its intentions with lucidity and impact. 


Nihad Panju | Short Film of the Day

The film is a calm engagement with the protagonist's attempts to locate himself vis-a-vis the ideas of truth and existence. He is an NRI, returned to a small Indian town to sell his ancestral property before he heads back to his life in the US to never turn back. However, the most unexpected realisations about his past, ideas of love and what it means to allow his foundational roots to open doors (both literal and metaphorical) await him before his departure. <br><br> The story is allowed to unfold and come into its own at a quiet, gradual pace. It further employs symbolism and metaphors to communicate its message. Consequently, when the closure of the narrative finally arrives, the viewer does not realise in the first instance that the film has already led them by hand to a place of no return.

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