A man has gone all the way from Delhi to Guwahati in search of something. As he arrives at his destination, he soon finds out that what he thought he wanted, the desire that got him to this point, is quite different from what he needs, in order to move forward in life. 

All of these ideas are explored in a quiet manner by the narrative. Weaved with ease and calm, the story introduces us to an unsure boy who is about to have his first sexual encounter ever, with a sex worker. The conversation between the two, in the process, becomes a coming-of-age moment for the smiling, simple-hearted protagonist, a moment that is much bigger and more significant than the sexual experience itself. 

The character of the sex worker is beautifully done as well - a smart, intelligent woman with agency, and someone who is in control of her life. The two characters, having come together in an unlikely fashion, soon find a space of shared comfort, in an even more unlikely fashion, as the film is taken home seamlessly.

Ode to the Nameless | Short Film of the Month

‘Radhan’, a film that invokes the word satisfaction in its title, becomes a story of pursuit, of exploration, of arriving and perhaps even finally receiving. Through the characters of Ujjwal and Madhu, a cynic and a happy free-spirit, respectively, the film constructs its world for the viewer. 

The end result is marked by an earnest desire to conjure its reality, as well as to bring in a sense of dreamy ease within the narratorial progression. Even if it does not go all the way in exploring the many aspects of this particular kind of storytelling, the film still remains marked by its own unique voice to give a twist to the age-old opposites-attract-trope of romantic tales. 
Additionally, the chemistry of the two actors ushers in a sense of endearment that suffuses the film with a warmth that would stay with you long after you are done watching it.

Radhan | Short Film Nominee

Indian domesticity and sexuality are two paths that never overlap, and there is nothing to be gained from this forced distancing. ‘Let’s Talk Later’ explores the same thought by introducing us to a family that lives in a small house, sleeping in the same room. 

Consequently, the children are exposed to the intimacy of the parents with devastating consequences, especially for the pubescent daughter, Shweta. Despite her inability to truly comprehend the experience, she also tries her best to protect her younger brother. The narrative does a competent job of delineating the vulnerability of the children, and the manner in which they are disturbed by the circumstance. 

There is also an engagement with the deep discomfort of the mother, adding one more layer to the story that works in its favor. At the heart of it all rests the compelling reminder to find a way to normalise sexuality for children in a healthy manner, and to put an end to the desexualization of Indian domestic spaces.

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