If the purpose of art is to disorient, this short film succeeds at it most brilliantly. With its disparate images which still somehow find a common link weaving them together, all thanks to its skilful narrative, Under Covers involves the viewer right from its very first opening visual. The film offers a heady cocktail of childish images and mature content that would leave the viewer baffled about what to make of the film, but in the most wonderful ways. From controversial to violent to simply disturbing - the images roll one after the other, invoking sexuality, religion, violence and the fear of the supernatural. On a night of a lunar eclipse, all that it simply does is delve into the lives and secrets of the inhabitants of a small town. As the surreal, dreamy transitions follow in quick successions, would you have the stomach for what it has in store for you?

Under Covers | Short Film of the Day

It's incredibly difficult to pin down what this film truly means to a viewer. It is ethereal and visceral at the same time. It is extremely complex, nuanced, evasive, and yet, at its core, has a simple premise. While the subject it deals with is endlessly layered, its voice and tone is fairly straightforward. But wait, what genre does it belong to? Is it dramatic, surreal, violent in its execution of its story? Is it all or none of it? As you struggle with the questions and their answers, it is indeed in this compulsion you feel to engage with it that the success of the film lies. The body of the narrative is the poem of the same name by Olivia Gatwood. Though both Dani Pearce and Gatwood belong to different parts of the world, having first participated in the conversation around this short film virtually, Backpedal further goes on to exhibit the transcendence of art, the universality of an experience when it's treated with absolute honesty and sincerity. The story becomes a commentary on gender, the desperate need of adolescents to fit in with their peers, in general, and of young women trying to fit in with their male counterparts in particular. Violent images of a murder are invoked, as are those of grief, tragedy and loss. It's astonishing how much the film manages to convey in its short length. Further, it's unequivocally loud and clear in its message, one expressed in an experimental manner, ensuring that the story and its images will continue to haunt you, making you return to it over and over again after your first interaction with the world conjured by Backpedal.

Backpedal | Short Film of the Day

Zoo is a notable union of a powerful story and equally strong visuals to supplement it. In terms of technique, the film follows all the rules of sound, music and camera angles to create an atmosphere of suspense, uncertainty as well as to mount action, and yet, it does not come across as pedantic. The storytelling, instead, is marked by efficiency and seamlessness. While the narrative raises potent, urgent questions about a desperate need of the hour, the approach adopted for the same is simple, making its message all the more impactful in the face of complete absence of garish devices or tools. 

The film is a comment on racism, drawing the viewer's attention to a conversation specifically around police brutality that shook the world and made it sit up the past year. However, it should be noted that it brings in personal experiences, ensuring that it is not simply a macrocosmic narrative about a white and a black man, but also of two people with their own internal, individual struggles and frustrations. Further, the manner of treatment of this dissatisfaction offers a sharp contrast. For instance, a white character, who comes from a space of entitlement owing to his racial identity, is convinced of being allowed the opportunity to inflict violence on another with impunity, even in the face of all calmness and rationality received from the other party. 

Your dissatisfactions are perhaps then allowed to find expression in the violence and cruelty you inflict on others if you are of a certain race, lurks the subtle comment within the folds of the film; like in a zoo where we are all animals, waiting to give in to our bestial sides under the right circumstances. Or worse, since the existing hierarchy is engineered to dismiss the marginalized further to a realm defined by the absolute disregard for their life. 

Though the technique and visual approach of the film has already been appreciated, it is important to mention the same again. The film deliberately drops visual cues regarding what is to come. For instance, it is a beautifully ominous shot of our protagonist peering into a store while metal rods make their presence felt against a glass window, making the scene suggestive of incarceration, a prison. It is precisely after this moment that the tone of the film changes. The plot moves from personal, localised struggles of debauchery and petty thefts to a thematic concern that would come to raise potent questions about systemic racism and oppression. It is especially important to invoke this particular visual image at this juncture because it further asserts the film's title - the reality of a world where a black man is born within the cage a festering society has already chosen for him. 

Additionally, there is an emphasis on the fierceness of youth which is allowed to you depending on your racial identity. The body language of a white man before a potential figure of authority offers a disturbing juxtaposition with that of a black man. 

Within the body of the film rest several significant comments while it continues to maintain its crispness throughout. There is a portrayal of how mindless violence often leads to a cycle of hatred, an action-reaction equation, a cause and effect. One attack on the oppressed can sometimes lead to a retaliation the oppressor did not expect. The film does not take sides regarding this reaction, it only presents it to the viewer in an objective manner. 

What is especially notable about the final product is that it manages to bring in all of these concerns (and more) to encourage a pertinent discussion on the reality of existence determined by your racial identity. The same is achieved organically, without stumbling or using cliches or sentimentalism as crutches. It is indeed in this confident assertion of its thoughts, the consequent clarity of the message and the eventual realisation of these intentions that the success of the film lies.

Zoo | Short Film of the Day

There is something to be said about the vividness of images that often embrace the walls of the human mind, but never allowed a spectator other than their own creator. However, when cinema, animation and visual space allow them a representation to be put forth for an audience, it perhaps becomes the most notable aspect of their journey. Milkoffee achieves and executes something similar, and presents the viewer with an expertly crafted animated short film. 


Conceived as an adaptation of Max Aub’s Crìmenes Ejemplares short stories, the film follows an encounter between two strangers at a diner in the middle of nowhere. The scene is set for something unusual, potentially unpleasant, right from the start, as the skilled visuals begin to roll in one after the other. They never lose their pace or beauty, and eventually lead the narrative to offer a shocking culmination of events. 

The story includes violence, eccentricities and the fragility of human life. It also includes a man's fixation with a stranger and his cup of coffee, and the disastrous consequences of it all. Amidst the colours, voiceover and the plot, it is undoubtedly the experimentation with the images, animation and the manner in which all of it is bound together that becomes the strongest, most notable aspect of the film.

Milkoffee | Short Film of the Day

It is Halloween, the festive, carnivalesque spirit has begun to stretch out its limbs and before you know, three drunk men are lugging a metal post box-esque contraption across the corner of a street. Minor acts of vandalism are not stuff of nightmares, but this specific object soon becomes the MacGuffin of ‘Wastelanders’, propelling an unsuspecting man’s life into absolute chaos. 
 

As wonderfully bizarre as it sounds, this is the premise of the film, a complete punch of crime, action, thrill, all neatly packed within a few minutes. 

A drunken night with his friends has left Adam in possession of this mailbox that now needs to be taken care of. However, in the process, some important paperwork is also discarded with it. When Adam returns to retrieve it, a terrible development awaits him, and he gets swooped up in the rigmarole of a violent, criminal act that is threatening to run out of control. 

The consistency of the world conjured with the storytelling and characters, suffice to say, exhibits finesse in execution, approach and tonality. Despite the simultaneous development of the several events, the film upholds the lucidity of its plot, ensuring that the viewer is equally invested in each of these events. 'Wastelanders' is a well-handled film, leaving one with the prospect of more such storytelling by Patryk Terelak and Rockwell White.

Wastelanders  | Short Film of the Month

Thrilling, powerful and sinister are the three adjectives that most perfectly define the experience of interacting with I'm Still Here. The film takes us into the very uncertain, and therefore, doubly horrifying reality of a woman called Maggie who is hiding in a basement while waiting for her parents to come back. The latter had ventured out in search of supplies seven days ago and have not been heard from since. 

 In the process, the film invokes the deeply disconcerting situations of emotional isolation, along with a physical kind, allowing it to be a more hard-hitting story in a world that is only beginning to get back on its feet from the lonesome existence of a pandemic. The physical threat is never truly revealed to the viewer, thereby allowing it to invoke fear of a distinctive visceral kind, individual to each mind, one heightened by concealing more than what the story reveals. However, in addition to this, it is the oppressive internal, emotional threat that truly captures the viewer's attention and ensures they are unable to look away even in the face of something potentially fatal awaiting the protagonist. 

 There is further much to be said about the expert and sophisticated manner in which sound is employed to conjure the world Maggie inhabits. Markedly, it is indeed another woman's voice on a walkie-talkie, Emory, that allows decisive and crucial forward movement of the plot. As the two women find themselves a space of companionship, solidarity, and hence, much-needed strength during a moment of paralyzing panic, the film conveys all of its intentions in a notably effortless manner. Moreover, it would indeed be quite something to see the short film as a longer project.

I'm Still Here | Short Film of the Day

One of the most appealing characteristics of art is to take something raw and aggressive and channel it into something beautiful and constructive. This assertion forms the backbone of the film, not for its own efforts to achieve this positive outcome, but due to the compelling account it offers of an initiative that does precisely the same. 

Steel Warriors is the documentation of the eponymous charity which encourages people to hand over their knives which are then recycled, followed by using the resultant steel to make outdoor gyms. Through the voices that the narrative brings in, these efforts, and the gyms they have led to, acquire an artistic appeal of their own, the status of an exalted piece of art itself. Further, a sense of community is conjured as the structures are then used for calisthenics, and the gravity-defying performances they eventually lead to. 

 The film is especially beautiful in the quiet, but powerful notions of hope it brings to life by using experiences of those who overcame obstacles to train themselves in these movements of the body, and in the process, allowed the activity to become the very tool that helped them triumph over those obstacles. The narrative remains crisp with the brevity being a strong characteristic, along with an elegant edit, lovely visuals, and the simple, lucid manner in which all of the intentions are tied together in the final product.

Steel Warriors | Short Film of the Day

It is a regular day for Rudy, an incarcerated felon in a high-security prison, who is behind bars serving a life sentence for brutal crimes against women. Without dwelling on the details, and simply working with suggestions instead, which do more than an adequate job of constructing the narrative, 'Prisoner #1616' presents itself to you. 

A researcher, Monica, has come to the prison to interact with Rudy, and confirm a theory she has been working on regarding human DNA. The dance of the power dynamics between the two characters, as they blur lines between the protagonist and the antagonist, is truly a joy to watch. 

The conversation that unfolds ensures the viewer’s attention is glued to the screen throughout, lest they miss even the slightest detail. DNA and music, a song, memories, and the past, science and reincarnation, all of them are invoked to conjure the world of the film, and what a world it is. Marked by smooth performances, neat visuals and a gripping storyline, the film refuses to let even a single moment slip, building tension and taking the viewer as well as the characters down a path of no return.

Prisoner #1616  | Short Film of the Month

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.

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