The film is a heartfelt glimpse into the struggles of two characters, Yadhu and Sruthi, a young couple that has moved away from home to build their life in the big city. 
Facing opposition from both their families regarding their marriage, they have now come to a place where in a bid to simply survive, they hold on to demanding, hectic jobs. 
The daily routine ensures that the two barely even meet each other in the house, spending their time only within the emptiness of the four walls. In the middle of the tedium of daily mundaneness and demands, however, also lies the memory of a past, one that ensures that their present is filled with love, even if in the form of longing. The various household tasks and items remain nestled in the identity of a lover and a beloved surrounded by yearning. 
The film calls itself an adaptation of the Bengali film ‘Asha Jaoar Majhe’ (Labour of Love), and endeavors a storytelling marked by mellowness of voice and tonality, brought to life with skilled visual grammar and notably strong performances.

He & She | Spotlight

A story of two brothers, and a woman located within this dynamic, the film is an engagement with separation, and how far someone can go in the pursuit of closure. 

When the iridescent Renu returns to meet the brothers, Yuvi and Avi, after five years, she comes with an invitation to her wedding. Thus develops a conversation on past hurt, the compulsions that lead people to make choices they never wanted to make, and the ensuing heartache that gets left behind in their wake. Renu, notably performed and portrayed, may have made mistakes in the past, but now she wishes to amend them, or at least explain the reasons that led to her actions all these years ago. 

The storytelling is taut with tension and something darker that simmers under the surface. The screenplay and editing are constructed with the same control and skill, and keep the viewer hooked right till the very end, when an unexpected development subverts all expectations.

At Last We Said Goodbye | Spotlight

As Chitaangya toils away in a field after having been forced to drop out of school by his father, Pashya makes his way to him in a rush. Pashya has very important news for his friend. Chitaangya’s love interest has left the village and moved to the city. Before he dismisses the news, Pashya also informs him that she has left a letter for him. 

What follows next is an endearing and amusing story of procuring a mobile phone, evading parental authority, and somehow still managing to follow a strict father’s orders, all in pursuit of love. All of this is marked by a strong portrayal and performance of the protagonist. However, right before its conclusion, a crucial development totally reverses the tonality, as well as the fate of the protagonist. The storytelling evidences thoughtfulness and attention to emotion. The same approach would be enhanced further if a longer project were attempted in the same vein.

Virah | Spotlight

The storytelling capabilities exhibited by the film are remarkable beyond a question, truly jarring the viewer, making them sit up and pay attention. At its opening, two characters, a man and a woman sit together, lamenting an imminent separation. The sense of regret and despair is further enforced by discussing the plans they had for their lives, but those that will now never be realised. It is not revealed to you so far why the plans have been foiled, and once the realisation sets in, it takes a moment for the audience to comprehend what truly hit them. The film is marked by a skilled vision, but it misses the mark ever so slightly when it comes to technique and execution (for instance the blinking of an actor who is supposed to be dead, or the involuntary movement of another's limb who is supposed to be dead too). Nevertheless, the film remains very entertaining and shows deep potential, especially in terms of direction and shot choices, as well as in the intelligent ways adopted to portray violence, and balance out the grimness by using humorous banter between the perpetrators of it. The vision is definitely there, the creativity is unmissable, the director-writer deserves full points.

The Separation | Short Film Nominee

The film opens with a girl’s distress at her best friend moving away. This is the first time she is faced with separation and loss, and is completely heartbroken. Next to her sits a man who tries to comfort her. However, in her grief, she is quick to dismiss his wisdom of the years he has ahead of her. This dismissal, incidentally, leads to the sharing of a story from his past, one that forms the predominant body of the film. 
As we go back in time, the love story of Anirudh and Maithli comes into being. It’s one of innocence, affection and deep devotion. The film also endeavors a comment on family and the sense of community that can be found and established between people living under the same roof. Tragedy, unfortunately, has begun to stretch its limbs too within the narrative, and the film presents it all to the viewer. The two lead actors further portray their characters with dedication and earnestness, in the process, allowing the film to pronounce its message of loss, heartache, and above all, the invincibility of love.

Makhane | Short Film Nominee

Love, obstacles in the union of lovers and a tragic parting make for cohesive stories of romance. The short film is one such endeavour which employs an experimental treatment and execution of the plot to convey its intentions. Two narratives develop parallelly, both love stories, both marked by their abrupt and unexpected end. As matters come to a head, violence too becomes part of a narrative that had all along been defined by intimacy and emotional vulnerability, giving rise to a reality that is constituted by the close intertwining of all of these emotions. Without explicitly stating it, the film also offers a comment on stereotyping of an entire community based on the actions of a few, and also a common path that two strangers find after having faced loss and grief themselves.

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