There has been a recent surge in mainstream films set in small cities of Northern India.
However, in ‘Bareilly ki Barfi’ (an otherwise good film), when Kriti Sanon smokes a cigarette
sitting on her rooftop with her father, she does not have to think log kya kahenge?. Most of
these films do not tackle the actual hardships of living in these cities. The burden of living in a
society where it dictates your personal life to the point of absurdity is perhaps not a suitable
topic for entertaining cinema. 

Kislay’s ‘Aise Hee’ has proven it can be done. It is a film about an elderly woman in Allahabad
(later Prayagraj) who, after the death of her husband, begins to live her life on her own terms.
The husband, however, is a looming shadow in the film, his absence the driving force.

<h2>Little scenes in the first act brilliantly build this up. Earlier on, we see her younger family
members scrounging for colourful sarees in her wardrobe that she would no longer need. Her
son and daughter-in-law diligently plan to give her room on rent for extra money. The locals
respect her for being a lawful wife, and by extension, expect her to be the perfect widow. </h2>

When she breaks away from the norm, society is not ready to handle it. Until then, perhaps
her presence was little more than a venerated idol in the house. Stones don’t require people to
change their lives for them. Kislay’s brilliant screenplay follows her journey in every aspect - in its
pacing, its momentum and its interaction with side plots.

<h2>The film is more than her story. It slowly, but surely develops into a competent social and
political commentary, and a story of a middle class family struggling to keep their lives
functional. Her son, brilliantly portrayed by Harish Khanna, struggles with the uncertainty of
contractual government jobs. When we see him burst out in anger at his family, we see his
frustrations. It is apparent that his professional life is confined to being a yes man to a boss who
couldn’t care less, trying to find work in an industry he clearly cannot understand.</h2>

Another brilliant moment comes in the character sketch of his wife, she finds her kitchen in
disarray, only to see her apathetic daughter coming in and nonchalantly contributing to the
mess. She bursts out in tears as she cleans it. 

A strong subsidiary plot is set in the backdrop of radicalisation of youth as Allahabad becomes
Prayagraj. ‘Aise Hee’ is able to comment on class relations, religious tension and misogyny in a
multi-layered narrative that is ultimately the struggle of a family to keep itself together in a
disintegrating society. 

All characters fall victim to their circumstances in their own way. Kislay compounds it with collages of their real
pictures from a life of ‘innocence’ as he completes their character sketches while Schubert’s C
minor symphony plays in the background. 

The filmmaking is relentless, unnerving, yet intimate. The camera understands its characters,
and never judges. There are no clear blacks and whites in their bleak world. In a sense what we
do not see in the film is worse. Kislay has presented a world at the brink of a fallout, desperately
clutching to itself. When we look back, the comedy of errors seems less comic and more ominous with regards to what is to come. It is the story of a degenerating society that might just
crumble, where nothing can be done ‘aise hi’. Well-meaning things have dark repercussions,
and the individual is never free from the dehumanizing grasp of society.

 
Written by Nimish K Sharma

Aise Hee | Review

This short film, starring Nawazuddin Siddiqui and directed by Nandita Das, works as the perfect prelude to the full-length feature film Manto soon to make an appearance on the silver screen. Nawazuddin is as convincing as Manto in the film as he has been in all of his prior roles. The film is a deep and insightful commentary on society which attempts to hide its vulgarities and inherent contradictions by attacking the artist who simply holds a mirror to it. It's not the art which is ugly, but the reflection of the critic who attacks the former with misguided rage. If nothing at all, In Defence of Freedom, handled extremely elegantly by Das, simply succeeds in compelling the viewer to start a conversation with the self and its location in society.

In Defence Of Freedom | Short Film of the Day

Trigger Warning: Graphic Content 

The film is a poignant and inspiring narrative about an organisation that rescues animals in the Indian city of Raipur. It takes the viewer into the lives of the founder and her small, but dedicated team who works tirelessly and relentlessly, even in the face of all obstacles, be it financial, societal (linked to the gender of the volunteers, for instance) or beyond. The documentary is deeply moving, heartwarming, emotional, endearing and impactful, all in equal measure. What started as an unexpected set of events when the founder, dressed in her finery and about to head to a social gathering, found an injured dog on a street, has now become a force to be reckoned with. Inherent to the core of the film is the message of kindness and doing your bit, despite hurdles like limited resources, unawareness, ignorance or just plain indifference of those around you, and the sacrifices that such an endeavour often demands. The film undeniably has a very powerful story to share, one that should be spread far and wide, for the betterment of the world we live in. All of this is further tied up with technical skill to make the narrative even more impactful. Vaatika is marked by its beautiful visuals (though some of them would be too graphic for sensitive viewers), seamless editing, crispness of narrative, eloquent interviewees and the deep, sincere desire to create something meaningful.

Vaatika | Short Film Nominee

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

The film is a lovely comment on the futility and obsolete nature of some institutions and belief systems that constitute our society. It does the same not by being self-indulgent or mawkish, but by simply presenting a single conversation between two women. As a job interview is executed, the film’s intentions are allowed articulation. 

The plot remains lucid and engaging throughout, while also making all its intentions clear in a concise and crisp manner. The job interview itself is not one that the viewer would expect, and it is in this first sense of surprise, or perhaps even unease, that the message of the film is pronounced loudly and emphatically.

Not Done Yet | Short Film of the Month

The documentary, with its seamless, skilled camerawork and intelligent visual storytelling, introduces you to Parul Chauhan, a homemaker in a corner of Delhi, and her relationship with her motorcycle. Through her story and experiences, the film offers a pertinent comment on the location of women in a society where women like Chauhan are still anomalies and possible only due to a fortunate and near-perfect alignment of several moving parts - the most important of them all being a supportive family. As Chauhan takes us deeper into her world, we are introduced to how her riding allowed her to overcome several health problems. She further asserts that she hopes and plans to leave the women around her with the same indomitable spirit as her by teaching them to drive two-wheelers as well.

Journey of a Housewife to a Rider | Short Film of the Month

Chirag lives in a strange world with a stranger profession. His job involves delivering messages to people, on behalf of their family members and loved ones, sometimes in the respective patron’s voice, and sometimes even in person. The film offers a seamlessly remarkable endeavor in presenting this reality to the viewer. 

Amidst it all is Chirag’s relationship with Sneha, on the verge of collapse primarily as a result of his inability, ironically, to communicate or express himself. His dying relationship is simply symptomatic of society at large, one where the absolute breakdown of communication has left an endless vacuum very swiftly being filled by technology. In our own world where using AI tools to structure our messages and emails, sometimes even personal, intimate conversations, is ubiquitous and commonplace, is the film’s reality truly far-fetched? 

Chirag's mental and emotional unraveling is mapped alongside these developments, questions, and their inherent answers. A voice and tonality that is fresh and unique, coupled with strong performances, and a diegetic score together constitute the expert film.

Grey | Short Film of the Month

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.

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