Monkeys have resided in North Indian cities for ages. Treated as gods, and generously fed,
they lost the will to poach for food, instead entering human spaces to steal. These 'gods became
pests' as the film tells in its opening. 
<h2>Everyone is aware of this nuisance, but few would have thought to make a political satire and a
character study out of it. Prateek Vats sets his film in Lutyens' Delhi, around the most important
centres of the capital, and focuses on a peculiar job that has sprung up - monkey repellers.</h2>
Previously, tamed langurs were used to repel monkeys, their natural enemy. With a ban on
their use, the absurd solution was humans who could scream like langurs to fend off monkeys.
The story follows a young migrant Anjani who joins the efforts to get rid of the monkeys, but is never quite able to get the
intonation of 'Eeb Allay Ooo', the call of the langurs, right. He resorts to unique and downright
ingenious schemes and plans to be good at his job, but is pulled down by the authorities. 

The idea is to not harm the monkeys or to displace them. It is merely to drive them away from the homes of MPs and
other ministry buildings. Perhaps it is also about turning unemployed youth into langurs.
The satire in the story is veiled under the story of its everyman characters. The film largely employs a non-actor cast. These characters find themselves in insignificant spaces, and their
desperations and struggles are captured intimately. 
We witness Anjani getting frustrated with his life, being degraded and humiliated by his peers.
The character is one of a disillusioned youth that is run down by the system, clearly knowing
they are worth more than the jobs they do. The side plot involving his brother-in-law at his job is
poignant. The story of a man struggling with power he is not ready to wield supports the deep-seated arguments the film subtly offers. 

At times, the obstacles per se are not as much of a problem for the characters as the system and the
bureaucracy. <h2>It is an intensely real story with a script penned down
immaculately to suit dialects and tones. The famous roads of Lutyens' become a space of
fascination. It's not the monkeys, but the politicians and the bosses that become the source of
comedy. </h2>


Mahinder (a non-actor who plays himself) argues that Lutyens belongs to the
monkeys and not the politicians because they are never permanent residents. Their stay is
dictated by the waves of political favour. Despite the issues the film tackles, it remains intimate and does not ever rise above its down-to-earth characters. The story is always about the regular man, and poignant commentary is
found between the lines. 
The cinematography of Saumyananda Sahi has the attention to detail of a nature documentary,
painstakingly capturing the monkeys in their natural habitat, while intimately following the whims
of the protagonist Anjani, through his insecurities and in his theatrics. The script written by
Shubham is tight, with dialogue so realistic that it seems to come from an impromptu dinner
conversation in the narrow streets of Delhi's outskirts. Director Prateek Vats has religiously
worked with non-actors and actors alike to build meta narratives and improvisations. The nearly
unfilmable film flows smoothly and keeps on giving, along with being wise and sincere. The filmmakers have found just
enough to comment and at the same time tell an intimate story about frustration, loss of identity,
will and finding one's place in the world. 
Written by Nimish K Sharma

Eeb Allay Ooo! | Review | Prateek Vats

We Wake Up is a powerful rap by Karma (Vivek Arora) about the bleakness of the world. While talking about the selfishness of people who are too lost in superficialities, the video subtly hints at the corruption and dissatisfaction with political and administrative leaders. Made as a reminder to wake up in the year 2019, the video also talks about how in the rat-race of getting more likes and hollow fame on social media, people are willingly closing their eyes to all that's wrong around them. But will this be the year they wake up?

We Wake Up | Short Film of the Day

With rap as its medium and tool of choice, the video attempts a powerful comment on the Indian society. Rapper Divine brings to the screen the angst and apprehensions regarding notions of gender, class and financial inequality the nation has found itself gripped by. The visuals follow one after the other in quick successions to communicate the same message - about the hollowness of an existence that has come to be defined by only empty exteriors. The soundtrack constitutes of addictive beats, also a remote echo of Tiger Baby's previous major rap production, Gully Boy. However, despite the overlap, it manages to stand on its own as a masterful music video, supported by an equally skilled song.

Gandhi Money | Divine | Short Film of the Day

In the village of Kamleshwar, the Good Morning Squad has taken it upon themselves to ensure anyone who participates in open defecation is subjected to a fine. One morning, when Vitthalrao finds himself in the path of the Squad, he makes a run for it, to eventually be met with a very tragic end. This accident puts numerous elements into action, involving media, news anchors and their boisterous television shows, along with politicians. 

Soon, Vitthalrao's surviving family, his son Balya and his wife, are roped into an overnight makeover of their house by the sarpanch Rambhau in preparation for the daura or visit of an important state minister. The plot comes into its own adroitly employing satire and dramedy to share a story of personal motives, the sham of sympathy, the indifference to a family's misery and struggles, and the various aspects tied with a sense of frivolity that only serves to echo 'Daura''s intentions loud and clear. The film does a seamless job of playing on the absurdity and ridiculousness of it all, marked by engaging storytelling and tonality throughout. The final result succeeds in delivering its message in an emphatic manner, allowing the narrative to be a composite, balanced whole.

Daura | Short Film of the Month

As India remains a nation ravaged by huge protests against the NRC (National Register of Citizens) and CAA (Citizenship Amendment Act), artists have taken it upon themselves to use their work to declare their allegiance. The rap song is one of the firsts on the topic, rejecting the Indian government's decision in no equivocal terms. It uses real life footage of protest rallies and the clamping down of the authorities to convey its point. In an increasingly political time and age, when art cannot help, but become a political expression of one's beliefs and ideologies, the song does its bit to raise a call for action and to further remind the viewer that their silence indeed is a louder comment than they realise. For a country that is up in flames in its fight against discrimination, Streetocracy is an assertion of the power of the ordinary people and their democratic right to protest.

Streetocracy | Osapraka | ft Shumais, Manosh | Expat Alive

‘Afterbirth’ offers a narrative that ties history and politics with poetry and domesticity. The path to realize these thematic concerns is weaved with care as the film captures a tumultuous moment of public strife, one that also reflects the emotional and mental strife of two people unable to find fulfilment in this world, and yet seeking it relentlessly. 

Through Tani and Nator, the film not only presents its philosophical preoccupations, but further questions the traditional nature of marriage and the restrictive norms it often entails. In Tani, we see an intelligent woman who is unhesitant in asserting her views and desires, even if it sometimes means calling out the escapism and denial of a man she is deeply in love with despite, and perhaps, even because of it. 

The film deftly employs soft, diffused visuals, invoking an otherworldliness, even if showing a want of slightly more control, to bring its reality to life. The portrayal of its characters and the storytelling remain noteworthy elements, along with writing being a standout characteristic, ensuring that you stay with the plot and its many layers right till the very end.

Afterbirth | Short Film Nominee

Along the banks of the holy Ganga, the historical city of Varanasi acts as the backdrop for the film, Taam. Life of three characters belonging to separate generations, during a trying time of deconstruction of the authentic, cultural city is depicted through the short narrative. 

The oldest in the family, a Brahmin pujari who spent a lifetime practising his religion on the ghats of the river, is now being forced to leave the very alleyways he was born into, the ancestral, mystical walls which hold fond memories of his deceased wife. Amidst the constant movement of the several forces tugging at each other, his son tries to straddle the political and the social aspects of the ensuing developments. 

The protagonist is pained at the loss of the city, but is accepting of the resulting compensation- one which is deemed necessary for the survival of their family. Lastly, the innocent boy, still learning the trade, ends up meeting the cruel realities of the world he exhibits. Allowing all of these elements to play themselves out against the several warring factions of society, the film provides insight into life in Varanasi. The many undercurrents of totalitarianism, caste, religion and abuse are further allowed portrayal within the narrative, enabling it to finally tie them together as a cohesive whole.

Taam | Short Film of the Day

The short film presents a sharp, unabashed look into the world of fake news and the many ways technology is manipulated and employed for the vested interests of political parties and their associated communities. However, the approach adopted to portray all of this is defined not by moral didacticism, but instead by notable performances, poetry and honesty towards the message it wants to share. 

Beyond the emphatic condemnation of the deluge of fake news plaguing society in the most destructive ways, the film maintains a deliberate objective stance, ensuring to not blame a specific community, party, religion or individual. At some points within the story, the narrative is no more than a fly on the wall, simply presenting characters from varying sides of the ideological spectrum. 

Despite losing a few points when it comes to sound dubbing, the film does its bit to further the conversation on a very compelling issue, especially in a highly polarized world, when it is extremely important to call a spade a spade without jumping on bandwagons.

मेमे  (Meme) | Short Film of the Day

As the title of the film suggests, it is a metaphor for the contemporary reality in India. By using a familial setup as an analogy for the functioning of a country, it offers a strong comment on the manner in which a democracy functions. The film exhibits competent cinematography, but the highlight still remains the questioning of the faulty system by two little brothers, unable to see past the sham of transparency and the autonomy of the individual. The brothers disagree with their parents on where they want to go for holiday. The father thus decides to put it to vote. However, is reaching a consensus by all logical, rational and ethical means, and following it through the same thing?

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