The film is a quiet rumination on aging, the passage of time, and standing still as you watch the world change before your eyes and continue with its inexorable march. All of this is explored by the lament of a protagonist played most adroitly and skilfully by Naseeruddin Shah, who observes it all from his window. 

After having lived a life of hard work, one which even kept him from spending time with his son, his circumstance has slowed down now, leaving him only with this window and his thoughts for companionship. As he eschews modern technology, smartphones, and virtual contact, instead longing for more meaningful and intimate human interaction, the film comes into being. 

The narrative is constructed gingerly, bolstered by beautiful visuals, and supplementary colors that further invoke warmth and an intrinsic poignancy. The protagonist, and in turn, the film, however, is not marked by bitterness. Instead, only a lament on separation, on things changing too swiftly in their unalterable course, defines it. 

 There is an acceptance of this condition, but not devoid of sadness. A man’s relationship with his house, a space that stands for a life lived fully, complete with its losses and grief, as well as nostalgia, memory, and even strength, thus becomes the overarching force in the film. The narrative takes the form of a story of the old being replaced by the new, echoing the idea that while a life might end, the world continues to move forth, each individual going about their day as always.

Khidki | Short Film Nominee

‘Urvarit’ (Remaining) takes you into its world slowly, but definitively. At the film's opening, we are presented with a moment that is already fully-formed. It is the aftermath of a death, locating the characters as well as the viewer in the heart of all that follows thereafter. 
Sharada, an aging woman, has lost her partner of many years. While she braces herself for the life of loneliness that will ensue, a life which still carries the very specific markers of what it was when she shared it with her husband, from an empty bed to a forgotten pair of slippers, her family of two sons and daughter-in-laws has already started making preparations for the rituals, formalities and other worldly duties that need to be taken care of. 

As much as the narrative is marked by the constant conversation of the said family members, it is also marked by Sharada’s silence and lack of participation in it all. In the process, the film offers a nuanced comment on loss, grief, but above all, on the shape existence acquires for those who get left behind in the wake of death.

Urvarit | Short Film Nominee

‘Together’ is a quiet story which is nevertheless marked by a powerful and empathic voice. Munmun, a single parent and thus, the sole earner of her family, is a domestic help who is out of work because of the Covid-19 pandemic. Without making it explicit, the film presents the dire financial straits of the protagonist who has not made rent in two months. 

Consequently, one day when an opportunity knocks on the door, living for a week at the house of an unwell couple, she is quick to take it, leaving her two young children by themselves at home. The lady of the house, taking care of her Covid-stricken husband, is cold and unkind in her approach to the hardworking Munmun. 

Along with the many difficulties which the pandemic presented to people across the spectrum, both the privileged and otherwise, the film also offers a trajectory of kindness, from standoffishness to concern to an eventual softening of the heart. However, the question intrinsic to the narrative remains that when this kindness finally arrives, would it be enough, and would it be in time?

Together | Short Film of the Month

‘Seher’ is a heartfelt film, bringing to life a quiet mellowness on screen. The entirety of it is a conversation between Abhay and Hussna, a conversation that begins at a very pivotal point in the night for both characters. 

The ensuing exchange offers an earnest exploration of grief, loss, death, heartbreak, and some more. As they catch up, we hear of the many tribulations that afflict their lives in the form of infidelity, the uncertainty of life for a freelancer, financial troubles, the obstacles presented by the pandemic, mental health issues, and failure in love. 

The myriad emotions are shared without overwhelming the narrative. Even though we never see the two characters together in the same physical space, their palpable chemistry portrays the film’s reality with conviction and ease. The thread that ties the film as one is held tightly in place by a beautiful exploration of a Platonic friendship, and the idea of people saving each other not by grand gestures, but by simply sharing small, simple pockets of bonding, care, and affection.

Seher | Short Film of the Day

Afterglow attempts a poignant engagement with grief and bereavement, and succeeds at it beautifully. The story is of a Parsi widow dealing with the emptiness and sorrow left in the wake of her husband's death. This national award winning film weaves together the loss of the present and the fond memories of the past in an effortless manner. It tugs at the heartstrings of the viewer by subtly delineating the wife's struggle with the didactic nature of rites and rituals, as well as the hollow condolences of others. It further offers a touching portrayal of a couple waging a losing battle against a chronic disease, acceptance and the eventual letting go of pain to heal and recover.

Afterglow | Short Film of the Day

An idyllic space marked by shikaras, roses, adornment and smiles constitute the world of the film at first glance. At the heart of this narrative is a loving father-daughter equation, and a kind doctor who visits them regularly for follow-ups. However, this realm of love and longing is soon disrupted as tragedy strikes, following a shooting in a marketplace. 

By tying matters of the heart, and the ensuing complications, with the terrible reality of Kashmir that gets embroiled in the turbulent political terrain of the region, the film also presents the darkness of what lies beneath the surface of the Valley’s spectacular beauty. As foiled expectations, the motif of a red flower, tenderness of a hurt heart all make their presence felt, the film comes into its own. Though the narrative sometimes runs the danger of a little laxity, the end result remains especially notable in its visual progression and the performances it brings to life.

My Father's Doctor | Short Film Nominee

‘Arko’ is the exploration of primarily a father-son equation. The territory extends to include dynamics of the entire familial space, that of a mother and her child, and the husband-wife themselves, but its predominant preoccupation remains a conversation between Asit and his son, Arko. 

The eventual outcome of this exchange presents a story the viewer did not expect at first glance. The film does a notable job of deliberately keeping them away from it. The consequent world-building comes to be defined by loss, heartache, regret, and the overarching notion of what could have been. 

The end result is further marked by a song that sings of the human condition, expressed in poetic metaphors about words, and their might and influence on emotional states. When tragedy tears life asunder, the only thing left in its wake is a wishful indulgence in a world that will never be, asserts the film in its quiet melancholy.

Arko | Short Film Nominee

Inspired by Premchand’s namesake story, ‘Kafan’ locates itself far from the twentieth century, and in the contemporary coronavirus-ridden world instead. The story opens at a moment of tension, presenting to us a very unwell woman in Budhiya, as well as the plight of her worried, frantic husband, Madhav. 

As a frenzied quest begins to secure urgent medical aid for Budhiya, the film offers comments on privilege, the access the affluent enjoy in hospitals during a crisis, and at the end of it all, on death, the great leveler. At the same time, there is also a reminder that while death and the pandemic might be indiscriminate in who they choose to claim as their own, the poor and the underprivileged still have immense obstacles to overcome at every step, including death. 

The final product of 'Kafan' boasts notable performances, especially that of the protagonist in Madhav, and in a brief glimpse of an unnamed character. This is further coupled with subtlety and uniqueness of voice in the reality and commentary that it brings to life.

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