Libby and Erin are new parents to a little boy who has arrived with a few hiccups in tow, circumstances they are not entirely prepared for. There appears to be a disconnect between them in the resolution of these, one which becomes the driving force and the primary thematic concern of the narrative. As their doubts and uncertainties are exposed for a conversation, it is a plate of placenta around which the drama unfolds. 
The afterbirth becomes a nexus of anxieties, discomfort, and uncomfortable conversations. The screenplay, chemistry, and most crucially, prop support (!), each outdoes the other in bringing this reality to life, presenting a film that is not only sincere and heartfelt in an effortless manner but also manages to express all its gravitas with humor and drama tied together. 
While our new parents might have a thing or two to figure out about this massive change in their lives, the film and its execution remain clear and steadfast in the expression of its intentions all along.

Placenta Pâté  | Short Film of the Month

‘Navi Boys’ is a beautiful, and efficient, utilization of resources, performances and writing to portray a single moment, a conflict, and the confrontation, struggle and the eventual resolution that constitute it. Mike and Elon present to us a day in their lives where they conduct a podcast, the eponymous Avatar-fan podcast, that leaves no stone unturned in committing to the authenticity of the said universe. 

With absolute dedication to the fandom, makeup and linguistic requirements, the two friends share their love for the film, and its sequel, with their listeners. However, Elon has an important announcement to make as well on this particular day, one that would leave the future of the podcast, and in many ways, of the relationship that he shares with Mike, deeply uncertain. 

The true triumph of the film lies in the manner in which the myriad elements are united into a seamless whole. Drama, intimacy, and humor become part of the entire spectrum of emotions delineated within the narrative. From hurt, disappointment, a sense of betrayal, to acceptance, forgiveness, and of course, friendship - all of these are engaged with remarkably, taking the film home with ease and sincerity.

Navi Boys  | Short Film of the Month

Boyhood is a labyrinth of self-doubt, the pursuit of imagined confidence, young romances, and the many complex struggles of everything all of this entails. Our two characters, Edwin and Steven, navigate it with an endearing charm, and in the process, without trying or consciously intending, simplify a complex experience, condensing it into something entertaining, amusing, and heartfelt. 
The two may have no idea of how the world functions, but they are full of how it functions in their own individual realms, and there is no stopping them from using that as a manual for the situations life presents. While one of them struggles to ask out a girl, the other is trying to write and act, to overcome personal inhibitions. Essentially, both boys hope to move towards finding a way to express themselves before a world that seems alien and distanced, be it a crush or a theatre audience. 
The film does a wonderfully effortless job of tying the two together. Additionally, the boys’ attempts to find a physical space to hang out with each other is an echo of the emotional space too that they seek, one where all of these uncertainties have been resolved. In the portrayal of all of this and some more, the film efficiently utilizes the chemistry of the two actors and presents a screenplay, as well as a final result, that is wholesome and balanced in a complete manner.

Practice Space  | Short Film of the Month

‘Dear Diary’ is the most lovely splash of colors, ideas, music, and well… old selves. The film is beautifully imagined and performed, with a visual grammar that is steadfast and consistent when it comes to the art and set design. The conciseness of the narrative, almost minimalist in its approach, does more to convey with simplicity than anything else. 
Not devoid of humor, the screenplay brings to life a deliberate, effervescent frivolity that works in its favor most remarkably. We are presented with a protagonist who takes us into her world by the hand. The primary doorway to this realm is the regrettable experiences that she documented in her beloved diary, experiences, and memories that she would now rather exorcise, as she shares herself. 
This journey from remembrance to sharing and acceptance to the eventual expression of the desire to expel them is covered keeping the approach carefully controlled, deliberately lean, and seamlessly entertaining throughout. It would be a wonderful prospect to see more projects and storytelling imagined and conceptualized in this manner.

Dear Diary | Short Film of the Day

The film opens in the intimacy of a cozy room where Josh and Mackenzie share a moment. Things between the two are getting heated when a sudden change in the conversation alters the tone and mood. Their passionate exchange comes to a halt as they begin to discuss what a purely sexual experience between the two on the last night of their trip could potentially mean for the future. 
Make-belief scenarios unfold, ideas of guilt and regret begin forming, and the what-could-have-beens and should-have-beens nestle themselves within the story. In portraying all of this, the screenplay and edit maintain an effervescence that not only stands it in good stead but also achieves a uniqueness of voice and storytelling. 
The circumstance in itself is not a unique one, but its portrayal becomes the most remarkable aspect of the film. The effortless chemistry of the actors, the two primary, but also of those who step in and out for brief durations, aids the storytelling notably. The film does not weigh itself down by trying to be anything it’s not, and in the process, allows its authentic voice to achieve all of this with ease.

What Are We Doing Here | Short Film of the Day

While trying to come to terms with his relationship with his father, the protagonist gives the viewer an intense, unabashed look at everything the relationship has meant for him. The narrative explores the co-existence of an all-consuming, overwhelmingly powerful love, positioned right beside the complete absence of it, or worse, its transformation into anger, bitterness, and resentment. While there may be hope and desire for a bond between two people, if the foundation is already festering, there is little room for any kind of redemption or salvaging, the film suggests. 

At the film’s start, we are presented with the image of the protagonist writing something, but if it’s a literal reality of him writing something based on his relationship with his father, or is it only a metaphor for him re-writing the relationship itself in his head to eventually find closure and thereby move on, becomes a relevant thought to engage with. 

As the plot develops, talks of dreams and writing find their way into it, coupled with Shakespearean lyricism. However, each element only leads to the same discussion, the portrayal of a highly damaging equation, and the power it still has over the protagonist. He may feel suffocated, and uncomfortable, presented alongside the Oedipal image of a son inflicting violence on his father. There may be harking back to the childhood games, and yet, all of it always remains punctuated by something graver, heavier. Pain, hurt, and disappointment never leave the narrative, finding an echo within the screenplay and performances, while being portrayed in an engaging, experimental manner all along for the audience to interact with.

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