‘Tholumadan’ are monsters that take human form and kill anyone who recognises their true identity. The film, set in the early 1960s, introduces the viewer to this truth of its realm right at the start, immediately establishing the tone of what is to come. We explore this world through the eyes of Appu, a little boy who impatiently awaits the return of his father from the Indo-China War. 

In the face of news of all kinds of tragedies, and against all hope, Appu’s father returns, but the war has left him completely changed. Through engagement with the trauma that he still carries in his heart, taking the form of all kinds of inexplainable situations for the little boy in Appu, we are presented a world of horrifying realizations - a different kind of horror for adults, one of wars and PTSD, and of completely different kinds for a child, of monsters that only masquerade as humans, but perform strange acts in the darkness of the night. The film explores all of this with skill and very controlled dialogue, the gaps filled with a thoughtful and expert background score. The action unfolding on screen also keeps the viewer engaged, finally presenting a story that employs trauma as horror.

Tholumadan | Short Film of the Month

Serving on the frontline of a perilous war, two soldiers take cover on a sandy beach. At the same time, there is a sharpshooter aiming at them from a well-protected location within the bushes. One of them is severely wounded and struggles to stay conscious, the other tries to deflect the attack and shoot towards the direction of incoming fire. 

As the action unfolds before the viewer, the film invokes a conversation on the blood and gore that constitute a war, but also on the friendship and camaraderie that shines through in the darkest of circumstances. The images thus offered indicate memories of better, happier times which will be yearned for all eternity. At the same time, there is the intention and endeavor to pay homage to the brave soldiers who give up their lives for the safety of others.

Remnant | Short Film Nominee

The story is set in the aftermath of the Kargil war, fought between India and Pakistan in 1999. India has
been declared 'victorious' (the armed conflict was referred to as Operation Vijay, historically by the
Indian Defense Forces). A little girl is running across a street gleefully holding the Indian tricolour flag – not an uncommon image for a war film. A Sikh soldier returns to his house in the village post the war; except that it is
not his house. The twist that the film takes is hard-hitting, and drives home the point that we most need
right now: a war is victory with no survivors. With a noble message at its heart, the film foregrounds for the viewer that death and pain do not discriminate based on which side is victorious, and thus, leave behind endless loss in their wake.

Kargil | Short Film Nominee

Blazing gunshots and blaring police sirens welcome the viewer into a war-time zone. A helpless,
pregnant woman, caught amidst a conflict she didn’t choose to be part of, is already a clear casualty.
As she lies, defeated, in a foetal position, she prays for peace for her unborn child. In a world ravaged by war, what would be the fate of the life growing within her, one who's asked by her to never leave the safety of her womb? By raising questions like these, the film aspires to be a comment on human society where peace seems like a forlorn dream.

Seeking a Space Called Peace | Short Film Nominee

The film begins with a graphic scene of torture. We are informed by a television news anchor that an unarmed
policeman has been kidnapped by militants/terrorists in the conflict state of Jammu and Kashmir. As
the title explains, from then on ensues a religious war, which in this case is called jihaad. The religion of
the captive is the same as his captors. The film depicts without critical reflection, a view from a
fundamentalist terrorist organisation. However, through narration in the end, it endeavours to redeem itself with a
message of peace.

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