The film grabs your attention right from the very first visual of a man staggering into a seemingly undefined physical space. As the viewer gets involved more deeply, we find ourselves being led forward by the voice of a recording the protagonist has plugged into his ears. With judicious use of time travel and its many paradoxes that come to form the premise of any narrative around time and space continuum, the film conjures an intriguing story. This is achieved while keeping the viewer unsure the whole time about which character to route for and where to place their loyalties. What the film achieves in terms of storytelling is further enhanced by the visual style consisting of distinct color choices and camera angles. While time travel as tourism is an interesting string to weave your short film with, and perhaps even a longer project, as is the case for this film, it is an equally challenging ordeal to undertake. Sci-fi, especially time travel, also runs the danger of taking itself too seriously or, on the contrary, unable to go beyond the fluffy, hackneyed aspects of the genre. The End of History notably manages to steer clear of both of these traps with convincing performances, adequate pacing and a background score which might be jarring at the start, but that indeed is the point of it. As you go along with the protagonist on this journey to the past, with a little satire of contemporary times thrown in along with snippets of wisdom about the unpredictability of life and the strength of human spirit, the film manages to provide adequate closure, while also serving as a teaser for a longer project in the making on the same premise.

Dirty Machines : The End of History | Short Film of the Day

The autobiographical documentary, a fairly loose category to define everything that the film offers, introduces us to Jem and Anna, and their relationship which ended seven years before the film begins to explore it. 

It is when the two decide to make a film on their shared past, nearly a decade after it seemingly concluded, that 'Baby Grand' begins to stretch its limbs, eventually presenting to you a story about memory, creative reconstruction, past, intimacies, vulnerabilities and how none of these can ever operate within absolutes, always bleeding, merging, and blending into one another. 


Consequently, more than definite points, the film becomes a product that is marked by its blurred lines, overlapping boundaries of reality, art, emotions and relationships. Without ever realizing, the viewer is invested in the outcome of this relationship, in the eventual fate of the (former?) lovers. At some point, the cameras and the lights disappear, and you are simply part of a very personal conversation, perhaps even eavesdropping. The film says, “When you recreate memories, you end up recreating feelings too”. It is indeed in this recreation that much of the film’s underpinnings come to take a distinct form. 



The characters, remarkable in their own right, are two disparate personalities. The quirkiness and eccentricities of one being offset by the reclusive, quiet body language of another. It is evident how at one point they could have been drawn to each other, and how at another, pushed each other away. 'Baby Grand', thus, becomes a love letter to their former selves, to a relationship that is lost, but not forgotten. It is precisely in this manner that the film ensures that though the relationship in itself is not constituted by anything supremely unique, it’s portrayal and storytelling stays with you long after you are done watching the film.

Baby Grand | Short Film of the Month

The film is an intimate reflection of a very personal thought and approach to life that attains an unmissable universality in its portrayal. The narrative introduces us to Mirko, an artisan who has turned what was once a workshop for tools into a sanctuary of creativity. 

Moody shots take us into a world where the protagonist works with immense care and dedication to keep an art form alive. In his own words, he maps a movement “from artist to artisan”, by taking the viewer deeper into the innards of his workshop. This is further coupled with visuals of the outdoors, the fields, and forests that serve as his companions. 
The film's thoughtful screenplay, its controlled pacing, and the quietness of it all portray for the viewer a space of handicrafts, a realm that is deliberately slowed down in an age where everything - from fashion to food to the content we consume - is fast and instant. 

The subsequent narrative thus becomes a heartfelt reflection of a process that entails going back to the past to create something for the future, something that would last and endure the test of time, in the process, also pronouncing its title.

Going Back to Move Forward | Short Film of the Day

A marine biologist works into the night when unexplained noises from under the water's surface halt her work. As another expert steps in to unravel the mystery of the sounds, while also alluding to the menace of plastics and their onslaught on the environment, the most shocking reality unfolds. 

The film presents a swift introduction of not only the strange circumstance at hand but also a glimpse into Amy, the protagonist’s world. There is loss, and perhaps past trauma, coupled with a fierce sense of protecting the memory of a partner that has been left behind in its wake - components all of which rope in deep unease into the story. 

Without truly offering the cause and effect, and what has led Amy to this moment, a sinister situation is portrayed for the viewer. The film does an efficient job of not only using the limited aspects of a story but also a confined physical space to bring all of this to life in its brevity. Additionally, it leaves the door open for a longer exploration of the moment the film presents.

The Purgamentum | 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.

Most Viewed

Genres

Awards

Follow Us

Quick Links