The short film is a dreamy coming together of memory, time and the past. As a character sits down to pen down a letter, he finds himself going down the memory lane, a path the viewer traverses with him. What begins as potentially a love story of childhood sweethearts is soon afflicted by images of separation, violence and heartache. The film achieves all of this, and more, using a narrative which is devoid of any and all dialogue. The visuals are weaved together in a seamless manner to conjure an intelligent narrative that demands your full attention. From sharing a fruit with a dear friend as a child to biting into its memory many seasons later, the film portrays it all in its bid to capture a sense of nostalgia and a wistfulness for a past that once existed.

Li Ej Hu | Short Film Nominee

The Indian familial space is often fraught with disagreements, a constant power tussle between the parents and their children, and the latter's attempts to reject this dynamic. Additionally, these differences are intricately tied with both oppression as well as love and care, making the situation even more complex, ensuring blurring of neat categories of affection and intolerance towards one's way of life. The film is a powerful exploration of all of this. It further offers an impactful interpretation and its own unique portrayal of the same. Viewers are introduced to two parallel plot lines, of past and present, along with a simultaneous unfolding of events in both to communicate the film's intentions in a notable manner. At its heart, the story is one common to many households - a young woman deciding to break away from the strict code of conduct set in place by her father to eventually embark upon a life of her own choosing. And yet, the manner in which it is handled and treated by the film allows the story to stand on its own two feet, without letting it have echoes or influences of the narratives before it. The major body of the drama develops around a table with a fan on it, earning the film its title - a metaphor about the two opposite sides on which the two couples sit, along with the distance between them. It is also the performances of the same characters which steal the show, effortlessly carrying the entire film on their shoulders. As for the fate of this family, when all has been said and done, will there ever be the possibility of a space of acceptance? Will familial love truly be able to conquer the divisions set in motion by human-made identities?

The Table Fan Story | Short Film of the Day

The film constructs its world in an interesting manner, not revealing all its cards at first glance. When it opens, a baby and a man are present in a room. As they are soon joined by a woman, the picture of a family seems to be complete. However, only momentarily, and thus, the core conflict of this marriage is revealed to the viewer. 
Tara and Neel are about to head out for a baby shower, but it is the lead-up to this moment, primarily constituted by irritability and disagreements over small things like getting ready in time or buying the present for the imminent party, that reveals the true anxieties and stressors within the marriage. The film is marked by smooth performances, and storytelling that succeed in bringing this circumstance to life.

Parnu | Short Film of the Day

Menstruation and the taboo around it, especially in Indian society, is a much discussed topic in contemporary times. Consequently, art too attempts to engage with it often, and this short film is one such endeavour. The story is about a family making a trip to a nearby temple with all four members ready with a wish each to ask for. The narrative attempts to contribute to the conversation in a well-intentioned manner. Its method of choice for the same is simple and employs easily understood characters to communicate the message. Without overtly spelling out anything, it leaves the viewer with a reminder of the significance of the female body in the Indian culture, and the need to respect and understand it.

Spruha | Short Film Nominee

SHORT FILM NOMINEE

The film is the story of Ankush and Namrata, spanning over two decades, and minus a meeting, entirely made up of exchanged letters. The pen-pals have exchanged 450 letters in twenty-five years, having maintained a friendship since a meeting in Ahmedabad in 1995. When we are introduced to this friendship from the point of view of the protagonist, Ankush, we are also shown how it enriched him and nurtured in him a love and reverence for the Gujarati language. 

'Patra Mitro' opens in the present when Ankush is on his way to meet Namruta for the second time in their lives. When he finally arrives to see her, would the narrative develop in the manner the viewer has been led to believe so far? It answers this question, while also endeavoring to paint an entire emotional spectrum of love, loss, and finding hope once again. 

The two tools the narrative primarily employs in this attempt are writing and screenplay, alongside the dedication of the cast to paint the said reality for the viewer. In the process, the plot also echoes the absolute importance of connections that can sometimes last a lifetime, alongside the longing for an old-world charm where decades’ worth of memories cannot be rid of by simply swiping a finger across a screen.

Patra Mitro | Short Film Nominee

A woman finds herself stranded at a desolate bus stop at a late hour. As she tries to get away from the strange men prowling around her, she lands at a nearby rest-house of sorts. Here, her path crosses with that of a man who too appears strange at first glance, leaving our protagonist reluctant to interact with him. However, soon this hesitation transforms into ease, and a conversation begins to flow. 

 In the discussion that develops, several ideas about the transience of existence, the pain in remembrance and the unexpected nature of life are painted, all along tied with an intrinsic poetic sentiment. 

 The ensuing result becomes a calm meditation on the aforementioned ideas that are exchanged between two people in the quietness of the night. Since all of the events unfold in the darkness of dim-lit visuals, control on lighting becomes a crucial aspect which evidences a few wrinkles that can be ironed in subsequent projects. With that out of the way, it should be noted that the voice and approach should be explored further in more such endeavors by the team.

Mulakat | Short Film Nominee

'Marriage Fever' is a sweet story of Parth and Disha’s friendship. Despite the seeming Platonic nature of their equation, sexual tension remains all pervasive throughout their interactions with each other. As the two guzzle down buttermilk shots and overhype their culinary skills, a conversation about marriage remains their constant companion. The performances remain endearing and cheery all along to support the many exchanges, and the narrative's forward movement. Through their banter and lightheartedness, the friendship is portrayed in a simple manner for the audience. It would be interesting to see more, longer glimpses into the life of our two characters, and their many antics together.

Marriage Fever | Short Film Nominee

A single person project, the short film employs its limited resources efficiently to tell a notable story. The narrative is about survival and human extinction in the year 2050 when only a single human is alive on Earth. The film is a dedicated attempt to engage with not only this, but also ideas of humanity and kindness.

Alien Na Indaa | Lockdown Film Challenge

Indian society's relationship with menstruation and the female body is oppressive and disconcerting, to say the least. The idea of 'pure' and 'impure' is so intricately tied with a perfectly natural and normal biological process like menstruation that it leads to orthodox, conservative and deeply problematic practices. The school drop-out rate of girls in rural areas after they start menstruating is an index and direct reflection of the same issue. The short film is an engagement with these concerns, hitting the nail on the head right away regarding a very pertinent social message. It wastes no time in getting to the heart of things as it brings to life a reality where a young woman goes against her village to ensure education of the girl child. Daughter of the village head, she begins her fight at home, first endeavoring to change the mindset of those closest to her. The premise of the film is not unique, it is after all about a reality we are all too familiar with, leaving little room for novelty. However, it goes a step ahead to offer a solution to this malpractice by coherently and lucidly addressing the misconceptions and hypocrisy of a set of people who invoke the goddesses' name at every step, and yet, deny basic rights and facilities to the girls and women in their own families. By presenting forth all of these concerns, the film questions the marginalization of an entire set of people, the women and girls who make up half of the population, and urges the viewer to question and correct their own obsolete, unfair practices and beliefs.

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