Short films that I enjoyed recently

I love cinema, especially world cinema. Netflix and online streaming options have opened up a new world of many possibilities. Here are a few recent ones that I've thoroughly enjoyed and wish that others will share my enthusiasm.


Irrfan Khan, a much-adored Indian actor who transcended the divides among different movie genres, died recently at a relatively young age. Several people, friends as well as online strangers, expressed what I was feeling: that we ache at his passing and grieve as if we knew him personally, even though we rarely feel this way about celebrities. For about a week, I walked around with a heavy heart, unable to shake my sadness on his behalf -- that life cheated him in his prime by taking him away. I watched a couple of movies on Netflix, looked for some YouTube clips, and searched for bits and pieces of his past on Google. And perhaps, because of this pattern, the all-seeing Big Brother of the online world recommended me the following on YouTube one morning as I was waking up. I cannot explain the immense sense of satisfaction and fulfillment I got from this artistic offering: the story-telling, the music, the acting. Best of all, Irrfan Khan.

Ek shaam ki mulakaat, via YouTube

 
I recently watched the Tamil movie 'Sethum aayiram pon' on Netflix. Almost documentary-like, the first half of the movie -- the life of the 'oppari' (professional mourner) woman in a village, the 'make-up' artists for the dead, the sassy young sidekick (played by Gabrella sellus) shattering all stereotypes of a timid Indian village woman, the estranged grand-daughter hard-boiled enough on her own to be self-sufficient, bold and independent in the city, the rivalry of a wife and a mistress playing out at the funeral -- all captivated me immensely. The story line of the second half meandered somewhat making it difficult for me to find the plot believable, but not to the point of losing interest. The female characters and the actresses (Nivedhithaa Sathish, Srilekha Rajendran, and the 8-year old whose name I couldn't find) who played them kept my eyes glued to the scene -- each one of them, across the generations, were full of spunk. However, I want to sing a special song of praise for Gabrella Sellus with her twinkling eyes and sassy personality. Cellus so piqued my interest and lit a fire of longing for many lost years without Tamil cinema and a nostalgia for the '80s that I searched online for more of her movies. As far as I can tell, there are not that many -- yet -- but she has the online presence of what I assume to be the younger generation's -- TikTok, short movies, some interviews. I couldn't decide between two of my favorite short movies and, so, I link to both here. Check them out.

Vaemba

Unmaiyarivaayo Vanna Malare

 
I found a link and recommendation to 'Relationship Deli' on New York Times' Short Film of the Day feature. I watched it 5 or 6 times already and each time I find the dialogues funnier and funnier and i pay attention to newer lines. Ladies, don't let this one pass. One of those things that makes you feel you are definitely not alone. Without saying any more, here it is: The Relationship Deli.   

 

Good cinema by women

Three powerful movies I watched recently were all directed and/or written by women.

Cherien Dabis wrote and directed, 'Amreeka', a movie about a divorced Arab mom from the West Bank who immigrates to the United States with her teenage son and learns she cannot, for a minute, let down her resilience to live a life with dignity.  

*****

'Amu' was written and directed by Shonali Bhose who based the movie on her book by the same name. 

The NYT review says something mild about Shonali Bhose not yet in perfect form because this is her first movie (amidst a positive review), but to hell with all these professional reviewers who supposedly know everything. The storyline was gripping and the lighter themes were adequately explored and exposed while the main troubling one rightly haunts your sleep.
The trailer ends with Brinda Karat's voice telling Amu, "you are strong enough to know the truth." The same goes for us. 

*****

And Wadjda is extra special among these specials. It is directed by Haifaa Al-Mansour, the first female filmmaker in Saudi Arabia.  Waad Mohammed plays the very charming 11-year old who has set her eyes on a bicycle -- something the Saudi society has forbidden girls to covet or ride.  The undercurrents of her mother's life paint a distant picture from the pampered, rich and helpless harem wives' image that seeps the average westernized consciousness.     

*****