'The Florist', presented without any dialogue, is a narrative that preoccupies itself with longing. The drama and action unfolding on screen bring to life a conversation on desire, and conformity, and the manner in which the two can often work in opposition in a world that only knows how to adhere to rigid and obsolete ideas of love. <br><br> Two men, a painter, and a florist, share no more than the equation of a patron and a seller ostensibly, and yet, the quiet exchanges between them tell a different story. It is in the movement of the narrative from the former to the latter, until one is left behind, dropped for a soaring flight, allowing the other to be pronounced, that the plot is realized in an earnest, sincere manner.


The Florist | Short Film Nominee

The scene is of a moving bus where a little boy in a brightly coloured t-shirt is generously and deliberately spilling water over his stuffed mermaid. The same fate is in store for the basket of dead fish resting in the lap of a fisher-woman in the vehicle. The subtle act, though capable of incurring grave trouble for the unsuspecting child, is sufficient to establish his innocent kindness and warmth. <br><br>The film takes its time coming into its own, gradually revealing pivotal details that would enable it to weave the narrative together into a well-balanced whole. Soon the tone and ambience changes to a darker, more grim one, making the viewer realise that something is deeply amiss in the fictive space of the film. It is by employing this unease that Chudail, titled ironically and loaded with a very pertinent message, puts forth its aim before the viewer. Further, it leaves them with a strong reminder of a deeply problematic aspect of our society - one about the location and marginalisation of the transgender identity.

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