The world of The Meditater [sic] loves its potatoes and there are no two ways about it. With that out of the way, let's proceed. The audience is introduced to a nervous, unsure protagonist in Bennett, a fresh college graduate stuck in an abusive, unpaid internship. 

 As his financial woes continue to mount in the face of an exploitative job, and his living quarters confined to a dismal corner of his cousin's kitchen, some terrible developments await him in the face of seeking peace. The voice of his meditation app acquires an identity of its own, ensconcing itself deep within his mind, sharing instructions and suggestions even when Bennett is not plugged into his phone. The absurdity and ridiculousness of the suggestions, especially amidst rising tensions, only serve to echo one of the thematic concerns of the narrative - the futile attempts of holding it all together with a puny band-aid when the whole system is collapsing and bleeding profusely under systemic oppression of capitalist structures. 

 The pursuit of 'inner peace' in a world which deprives its young people of basic financial ability to secure a roof over their heads or buy something as simple as an ice cream ensures that the comment is loud and clear in its articulation. The portrayal is especially commendable in the manner in which it shares all of this with a generous sprinkling of humor. Without making itself overbearing, the film presents forth the comment, the role of the ubiquitous presence of potatoes within it, and all that they collectively mean for our hapless protagonist.

The Meditater | Short Film of the Day

‘Ganzefeld’, a story that borrows from the German meaning of the word to explore a sense of absolute emotional loss and surrender, is honest and heartfelt in its engagement with the life of the eponymous protagonist. Once a loving couple, Richard and Maggie were eventually afflicted by tragedy in the form of a chronic illness that took Maggie's life. 

There is the endeavor to paint grief, loss, heartache, and some more, but along with drama, there is also an elemental psychological thrill that defines the plot. One day, confined to his own devices within the house, Richard accidentally destroys Maggie’s last painting, a portrait of him.

It is in the image of this damage and destruction that a crucial metaphor of the film lies, a metaphor about the relationship of the protagonist with his wife and the disastrous consequences that await in the wake of its abrupt and sad end. The narrative further uses the color yellow, otherwise denoting verve, energy and enthusiasm, in its lighting and overall palette, to instead portend something far darker. 

The film is an unmissable glimpse into the young filmmaker’s voice and approach to storytelling. Even if a little loose in some places, it exhibits deep potential, and leaves you with the promise of more creative attempts in the same vein.

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