The concern with films which use the black and white mode to tell the story of mental
illness, a topic that has gained more and more significance in a world that is within the iron-hold of a pandemic, is that they not only make the issue appear totally bleak and downcast, but also put into place a reductionist binary. As though the whole world is divided between the colourful lives of those
considered ‘normal’ and the dark, colourless lives of the misfits. 30 Days of Existence, however, does
something stylistic with the aesthetic. There is a flow to the whole film, a smooth concurrence between
image, audio and thought. The writing is sharp, concise. The visuals linger on the screen for just the right
amount of time. The editing is clean. The voice over is subtle, and clear. Despite the black and white
mode, there is something glossy to the whole visual. 
While the viewer might find themselves indecisive about how much the film succeeds in its depiction of depression or even in making big headways
for a conversation on the matter because there is no linear or standard narrative available for the topic, the film definitely doesn’t seem patronising or overstating. On the
contrary, it aspires to be poetic. That intent comes through and is appreciated.

30 Days Of Existence | 2020 Film Challenge

BestFriend is an experimental short about a series of monologic conversations a man has with his ceiling
fan. He describes how the varying speed of the fan illustrates his various moods. The man also goes so far
as to call it a psychotherapy session, where he is talking, making the ceiling fan privy to his innermost
thoughts, feelings, desires, and fears. 
Experimental cinema needs motivation, no doubt. In this particular film, however, there seems to be a dissonance of sorts between the idea and the writing that eventually translates to screen. The same relationship can be explored further in future projects by the filmmaker.

BestFriend | Short Film Nominee

A man sets out on a journey by road on his bike. Down the path, he runs out of supplies with no
place nearby to even fetch water to drink. Then an out-of-the ordinary event happens to him. 
The film sets up big expectations and aspirations for itself by choosing a macro context and the
philosophising of its story. It would have perhaps benefited from more intimacy between the narratorial voice, which seems to be foreshadowing something rare that is about to happen, and the cinematic translation of this intention. Overall, Sarvantharyami comes across as the endeavour of a small, but determined crew, devoting themselves to tie the various elements of the film together.

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