The film presents an interesting overlap of the digital space with filmmaking. It positions two characters on the same plane - Simran, an aspiring actor on the sets of a film that has the power to launch her career, and Pia, a social media figure whose star is on a meteoric rise, and who works as an intimacy coordinator on the same film. 

Between the two stands Akaash who has helped Simran land this role in the first place. The choice of characters and the interpersonal equations the plot brings to life all present a dynamic array. The storytelling is further defined by an unmissable voice that engages with ideas of ambition and the insecurity that can often follow in its wake. 

Notwithstanding a little looseness in the screenplay, the final result is put together with thoughtfulness. The tonality evidences skill and the promise of further exploration of the themes and relationships thus presented in the film.

The First Break | Spotlight

Karthik is on his way to his sister’s wedding when his car breaks down in the middle of nowhere. Stretched for time and with no help available nearby, he finds himself making his way to what appears to be an empty temple. Here, his path crosses with a priest. 
The ensuing conversations between the two give the viewer a longer glimpse into Karthik’s character. He is ambitious, self-driven, even offhanded sometimes, and his world remains defined by material pleasures. The two characters thus present a binary between the realms of materialism and its emptiness, and a spiritual existence marked by fewer wants and harmony with nature. 
Though the story remains confined to one night, the brevity of the plot serves to drive the message home deeper. This, in turn, leads not only the protagonist but also the viewer to a moment of reflection, further drawing attention to how wandering away from a usual, well-trodden path sometimes can lead to something far more than one's expectations.

Paywat | Spotlight

The film displays ambition, aspiration, and intent to make a good short film. The story doesn’t quite
reveal itself to the viewer immediately. You’re given new information, a piece of the puzzle, slowly, as you move along. The director wants the spectator to pay attention to all the work he’s put in,
to receive every move of the camera. This is also in the nature of a thriller where one can’t tell what
detail is ultimately important in the larger scheme of things. Pay Per News’s polished camerawork and edit is
actually its most advantageous factor, the second is the lead actor.

Pay Per News  | Short Film Nominee

Aniruddh is a workaholic. He has lofty ambitions, big plans and wants to reach the top quickly.
While others in his office get by working five days so they sleep and booze on the remaining two, the protagonist's life is far from that. He takes no holidays - when he’s not in office, he is working at home. This bothers his
ageing mother who feels neglected, alone and worried for him. Preeti, a girl in Aniruddh’s office, is fond of
him and has also confessed her affection for him. However, he avoids her for there are several goals to be achieved
before he settles down. He gets the promotion, but on the same day he returns home to find his
mother passed out on the floor. The ride from his house to the hospital, with his sick mother in the
backseat, makes Aniruddh deeply introspect his priorities and the direction he wants his
life to take. Would it lead him to make concrete changes after all?

Prathikshe | Short Film Nominee

The short narrative makes no use of dialogue, and takes us into the life of its protagonist simply by way of visuals. The aspiration of the plot is to portray the futility and emptiness of a life that is lived simply in pursuit of one professional goal after another. However, even if these goals are achieved, they leave you with little space to catch a breather for yourself amidst the intensity and exhaustion. The project, though marked by a few raw edges, remains honest and direct with the expression of the same thought.

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