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SHORT FILMS

The Hands Reaching Out Through Time: Watch ‘Maa Aur Smartphone’

Directed by Shikha and co-written by Surabhi Singh, ‘Maa Aur Smartphone’ is a short film that emphasizes the idea of returning gestures.

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Maa and smartphone

There is definitely a generational gap that exists between parents and children. Most often, it does not factor into building a rapport between the two parties. Love, in all its forms, is ignorant of the most defining differences, after all. Sometimes, however, the differing interests and the formative experiences can lead to a certain distance that, if left unchecked, can build up over time. Co-written by Shikha and Surabhi Singh and directed by Shikha, ‘Maa Aur Smartphone’ is based on this simple premise. It is a short film that speaks of reaching out to those who may not necessarily be born in our time but were instrumental in building our foundations as individuals.

‘Maa Aur Smartphone’ focuses on the lives of Vasudha and her son, Shivam. Depicted in a traditional Indian family dynamic, Vasudha spends her days as a homemaker. An individual belonging to a different era, Vasudha finds herself perplexed by the complexities of modern day technology. From the first scene itself, we, as the audience, learn about Vasudha’s difficulties in navigating around her smartphone. While she does reach out to her son to teach her the things that she may not be familiar with, Shivam is too engrossed in his own professional life to find the time.

It is only when Vasudha falls prey to a phone scam, leading to a large amount of funds being siphoned off her bank account, that things come to a head. While Shivam categorically blames his mother for being naive, Vasudha sees how different the circumstances could have been if her son had just taken the time to teach her the very basics of navigating the technology that is at her disposal.

‘Maa Aur Smartphone’ is not an overly dramatic or emotionally wrenching short film, by any means. It is, rather, a simple one. Shikha and Surabhi Singh, however, ensure that its context makes you reflect. The entire short film is founded on the concept of being there for the people who were there for you when you were at your most vulnerable. 

The things we consider simple and take for granted can often seem daunting and intimidating for some others. What is critical to understand is the fact that when we, as children, were intimidated by things that seemed way out of our league, our parental figures were always there to guide our hand. The least we can do is return that gesture.

Watch ‘Maa Aur Smartphone’. It may base itself on the idea of unfamiliarity with modern day technology, however, as mentioned earlier, the message that Shikha and Surabhi Singh attempt to relay, through it, goes much deeper than that.

Credit: YouTube (Life Tak)
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SHORT FILMS

Growing Pains Settled With Cups Of Tea: Watch ‘Kakka’

Directed by Aju Ajeesh, ‘Kakka’ is a short film that is more a coming-of-age film than it is a social commentary on India’s fixations.

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Short Film

There have been a lot of films made on the issue of our country’s obsession with skin complexion. Some deal with the issue in a manner that is solemn, while others deal with the issue in a manner that highlights the ridiculous nature of the whole idea. ‘Kakka’ falls somewhere in between. Directed by Aju Ajeesh and written by Ajeesh, Shinoj Eenikkal and Gopika K. Das, ‘Kakka’ is a short film that tackles India’s fixation on skin complexion through the lens of a 20 something woman, Panchami, living out her life in a small town nestled somewhere in Southern India.

There are a number of things that ‘Kakka’ does right when it comes to dealing with its subject matter. What it absolutely gets right is the manner in which it portrays the growth of Panchami, as a woman, a human being and, perhaps most importantly, an individual who respects herself. Of course, there are a few narrative devices that I don’t actually agree with. The fact that marriage proposals are the primary plot device for Panchami to grow into the individual that she does, at the end of the film, is somewhat questionable. However, I also understand that, in a lot of the smaller Indian towns and cities, things flow in that direction. 

The single most powerful point in the entire short film, personally speaking of course, was Panchami’s phone conversation with a man that she was chatting with over the phone. That one scene in the entire film made me realise that ‘Kakka’ is a coming of age film more than anything else. 

Aju Ajeesh, S. Eenikkal and G.K. Das have done a wonderful job at creating a believable character. The character of Panchami is loaded with her own insecurities. Through it all, however, you sense a quiet strength in her. When the man she talks with delves into the beginnings of an indecent proposition, you see Panchami crestfallen. Doubt does seep into her, of course. Questions about her place in life. Yet, not once does she stumble significantly despite the seemingly bleak circumstances that she considers herself to be in.

There are a few cliches that Ajeesh, Eenikkal and Das could have avoided. However, ‘Kakka’ stands as a shining example of what a relatively smaller film can tap into. There are plenty of questions and themes that you see Aju Ajeesh dive into, some which a more conventionally produced film would not think of touching. And, for that alone, ‘Kakka’ deserves your time.

Well, that and the nonchalant manner in which Panchami drinks the symbolic cup of tea at the end. Truly iconic. 

Credit: YouTube (Neestream)
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SHORT FILMS

All The Acts That We Seemingly Hide: Watch ‘Chi Chi’

‘Chi Chi’, written and directed by Surabhi Saral Sachdev, is a short film that touches on insidious practices and perceptions.

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Short Film

Written and directed by Surabhi Saral Sachdev, ‘Chi Chi’ is a curious short film that steps wonderfully into the idea of delivering a message before it turns itself on its head, dropping, on you, the realization that biases are only ever apparent when it comes from someone else. If I really had to be blunt, ‘Chi Chi’ serves as a commentary on that very idea. It is not a short film about abandoning our biases as much as it is a film about the idea of how much we are willing to forgive when it comes to our own selves.

The premise of ‘Chi Chi’ is simple enough. Shreya, played by Sai Deodhar, is paying a visit to her colleague, Juhi, played by Ritu Choudhary Seth. Tagging along with Shreya is her toddler and her helper, Shabana, played by Amrita Chowdhary. The purpose behind the visit, itself, is so that Shreya and Juhi can catch up on their workload. The two of them, having recently become mothers, have a stark contrast to their daily lives. Shreya, owing to Shabana’s help in household chores, has a much better time dealing with the responsibilities that a new parent has. You understand the extent of it when you see Shabana, walking a few paces behind Shreya, carrying bags filled with whatever her employer would need. 

Juhi, meanwhile, is not faring as well as her colleague. Constantly between hiring new domestic help, Juhi seems to be struggling with everything that comes with becoming a new parent. Funnily enough, her husband does not seem to be anywhere in the picture when it comes to helping around. That aside, the meat of the short film comes from the difference in the manner in which Shreya and Juhi treat Shabana. 

Juhi, especially, seems to regard Shabana with a defined sense of social distinction. As the narrative progresses, the audience bears witness to Shreya being disappointed with her colleague’s behaviour before she finally decides to leave.

It is only when Shreya returns home, with her child and Shabana in tow, that you understand that Shreya’s biases are no different from Juhi’s. The sole reason that it doesn’t become apparent is owed to the fact that, perhaps, Shreya’s biases are a little less overt. Nonetheless, they exist for certain.

Surabhi Saral Sachdev, through ‘Chi Chi’ has done a wonderful job at capturing the idea that our judgements don’t extend to our own actions. Sachdev positions Juhi’s character as a representation of the obvious, the blunt, the downright apparent practices that furthers social stigma. Shreya, as a character, serves as the covert variant of the same practices, insidious but no less damaging to an individual’s sense of dignity.

‘Chi Chi’ is a short film that is not what it appears to be on its surface. Like the characters it contains, it goes a little deeper.

Credit: YouTube (Content Ka Keeda)
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SHORT FILMS

The People We Reduce To Mere Paper: Watch ‘Rent’

Directed by Danish Ali, ‘Rent’ is a poignant short film about the idea of holding onto the people who gave us everything they never had.

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Short Film Rent

There is very little in the way of words when it comes to expressing filial love. Most often, as we grow older, a certain distance builds up between us and our parents. Misunderstandings, past misgivings and just the general pressures of adulthood all snowball into this emotional disconnect from the people who raised and gave us everything they had. ‘Rent’, then, directed and written by Danish Ali, is one such short film that touches on this idea, of the oceans that begin to run, over time, between parents and children.

Featuring Rakesh Bedi, the celebrated Bollywood and Television actor known for his roles in iconic films and shows, such as ‘Chashme Buddoor’, ‘Rent’ follows a young couple, Varun and Madhu, played by Mac Lara and Ridhima R. Bedi, respectively, living out their lives in a rented house. With their rent overdue, albeit only by a day, Varun asks Madhu to just write out a cheque for the amount instead of transferring it directly into their landlord’s account. It is only when Mr. Mohra, the landlord’s father, comes in, personally, to collect the rent, that we, the audience, find out about the declining relationship between Mr. and Mrs. Mohra and their son.

I will come out and admit it now. It is hard, having grown up seeing Rakesh Bedi take on famous comic roles, to reconcile him with the man I saw on screen. Mr. Mohra, we learn, is not a man that time has been kind to, especially when it comes to having a fulfilling relationship with his son. Rakesh Bedi pulls it off, effortlessly of course. The man was made for dramatic roles even if your fondest memories of him are that of him being an on-screen comic. 

Credit, though, must be given where it is due. Ridhima R. Bedi, the real-life daughter of Bedi, plays her scenes to actual perfection. The real relationship between father and daughter translates beautifully on screen, with Ridhima R. Bedi playing off Mr. Mohra’s on-screen woes incredibly well. 

Danish Ali, through ‘Rent’, tries to convey a simple message. Simple, yet powerful. There is not, by any means, enough trouble in this world to make us forego the people who raised us and made us into the people we are. We owe everything that we have to our parents and that sentiment, alone, is enough to make us realise the fallacy in letting our relationships with our parents crumble and be reduced to being mechanical.

Watch ‘Rent’. Danish Ali, with the help of Rakesh Bedi and Ridhima R. Bedi, has managed to deliver a poignant tale about love, understanding and the idea of holding on to the people who gave us what they never did.

Credit: YouTube (Six Sigma Films)
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SHORT FILMS

Men, Women And All The Other Drivel: Watch ‘Name Plate’

Directed and written by Sreejoni Nag, ‘Name Plate’ is a short film that will catch you by surprise with how insightful it really is.

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Name Plate

I am going to get straight to the point. There are only a few short films that tackle a subject so head-on, so deliberately and, more importantly, so gracefully. ‘Name Plate’ is one of them. Written and directed by Sreejoni Nag, ‘Name Plate’ is a deep dive into some of the traditions that, in spite of their lack of relevance, we let go unchallenged. It is an important film to watch, especially considering the social climate that India, as a country, harbours.

‘Name Plate’ follows a recently married couple, Needa and Pratyaksh, played by Diptii T. Pujari and Vishal Vashishtha, respectively. Everything seems to be going fine for the two. Needa is a successful, young professional who is not only financially independent but a strong and stable individual. Pratyaksh, meanwhile, has just become the youngest manager at the firm he works in. Things could not seem to be better for a couple who are just starting out on a journey together. However, it is not in the confines of their relationship where the issues start to factor in. Rather, it is the external, societal drivel that starts to cause friction between the two. Well, friction is a strong word. But you get my point.

Sreejoni Nag has done a wonderful job at using subtle references about the status of men and women in society to highlight the core theme of ‘Name Plate’. To be very clear, Nag isn’t using overtly narrative points to outline the message he is trying to relay. Using Pratyaksh’s parents, played by Menekka Arora and Suneel Sinha, as a symbolic representation, Nag attempts, mostly through the conversations between the characters played by Menekka Arora and Suneel Sinha, to create a contrast between individual and societal perspective.

A striking highlight, in a conversation between the characters of Needa and Pratyaksh, is the point where Pratyaksh questions her on whether she is actually mentally punishing herself for being more successful than he is. While the context of the conversation is more adequately understood in the film rather than in written format, it is, regardless, an important narrative point to speak about. Sometimes, due to the ingrained regressive societal hierarchies and traditional reinforcements, there is this idea that women, through their own success, condemn their personal relationships and lives. That is something that Sreejoni Nag brings out beautifully in a singular line of conversation.

A possible criticism that could be directed at ‘Name Plate’ is the fact that the resolution of the film’s narrative still rests on the acceptance that is offered by Pratyaksh’s father, who, up until that point, serves as the representation for all the external societal factors that could possibly affect a relationship. However, I do think Nag is attempting to convey the idea that society needs to be more accepting of individual differences and the subversion of traditional societal roles. Nag treats Pratyaksh’s father’s acceptance as less of an external approval and more as a need to internalize acceptance.

Watch ‘Name Plate’. It is a beautifully thought out movie that only gets better once you reflect on its subtleties.

Credit: YouTube (BLUSH)
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SHORT FILMS

That Lingering Sense Of Unease: Watch ‘Aadhi Raat’

Shikha, with her short film ‘Aadhi Raat’, reminds us of the fact that for women, uncertainty can exist in the simplest of things.

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Aadhi Raat

In all the conversations we, as a collective, have had about women’s safety in our country, the most noteworthy point has been that on the issue of a persisting societal perspective. In spite of all the measures that have been taken in the recent past, all over the world, to help raise awareness around the issue of women’s safety, the fact still stands that women still find late-night outings to be unsafe. We have a long way to go before the concept of ‘equality’ truly seeps into our very bones. ‘Aadhi Raat’, directed by Shikha, is a short film that builds on this very idea, of fear and uncertainty existing in the simplest of things for women all over the world.

‘Aadhi Raat’ has an incredibly simple premise. Riya has to take a cab home a little later than usual on account of her boyfriend, Rohan, not being able to pick her up. Simple enough, right? Not really when you are a woman. Let that sink in for a moment. 

Personally speaking, I have been fortunate enough to have never felt unsafe while taking a cab at any time of the night. But, that’s just it. I was fortunate enough. A large part of that, there is no denying it, is related to the fact that I am male. I have friends and people I care about who cannot say the same. Ask all the women you know in your life about the situations they have felt even a shred of uncertainty in. You would be surprised to learn that most of the situations they describe are situations that a man will never have to think twice about. 

That’s the building theme of ‘Aadhi Raat’. Shikha, with her film, is not attempting to convey anything but a simple truth here. And, she has done a marvellous job at it. There is not a single scene, in ‘Aadhi Raat’, where you don’t understand the gripping anxiety and fear that Riya is going through. Every single expression, every single exchange between Riya and her assigned driver plays its part in reminding the audience that the events in ‘Aadhi Raat’ are very real and commonplace. There is an emphatic sense in the manner in which the narrative plays itself out. I cannot stress this enough when I say that Shikha, as the writer and the director, has done an impeccable job at treating the narrative with the respect it is due, keeping the events and the manner in which they play out as a very grounded reminder of the world we live in.

Watch ‘Aadhi Raat’. It is an important reminder for the progress that still needs to be made in regards to the issue of women’s safety.

Credit: YouTube (Life Tak)

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