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First, the Recap:
Lockdown. A word we are all too familiar with at this stage in time. Thanks to an invisible organism that has rearranged the world. In the midst of that time that shall forever be known as the “Year of COVID-19”, isolation–whether outwardly, internally, or both–became a norm we never wished for. While “imprisoned” in our homes, however, it gave us time to reflect, gain perspective, and perhaps rediscover that which was lost in order to then experience renewal–in love. Whether it is a solitary woman (Dipannita Sharma) who sees that a treasured book holds more for her again during the loneliness than she expected, or two people named Malvika and Nirvik Singh (Shibani Dandekar and Shekhar Ravjiani) who share a dinner ritual every night–but it is all what it really seems between them as the pressures of choice begin to weigh on them, or perhaps its an older pair of individuals, Mrs. Khan and Mr. Sen (Natasha Rastogi and Adil Hussain) who could learn that lockdown might hold the key to newfound infatuation and beyond. Is it love for all? You decide.
Next, my Mind:
Those who have been currently following my remote coverage of the 2022 DFW SAFF sponsored by Toyota USA and hosted by Jingo Media Founder/Festival Director Jitin Hingorani and Artistic Director Ambica Dev that happened the weekend of May 20th-22nd know that I have always been about treating each and every film as its own piece of art, separate reviews, as I personally believe that does the most justice to especially independent filmmakers and the vast heart, drive, creativeness, and sheer passion FOR the ART of filmmaking that so much of mainstream has lost long ago. However, when it came to the three short films having their Texas Premieres at this year’s festival from writer/director/executive producer Indrani Ray and, spread between the three projects, producers Tanvi Gandhi and Adil Hussain, plus executive producers Dipannita Sharma, Shibani Dandekar, Shekhar Ravjiani, and Natasha Rastogi, I couldn’t escape the feeling that these truly were meant to be TOGETHER, thematically in particular, in the 37-minute total runtime encompassed.
Now, this is NO injustice to the work displayed IN each individual effort, not at all, as they embody narratives uniquely their own and carry morals and associated weight that impacts us as a viewer. But, given the specific similarities found in each project’s foundational core–the COVID-19 lockdown and love (as the efforts were a part of the Love, Lost & Found Programming)–it stood to reason that, ultimately, they all have commonality enough to BE grouped as one for the purposes of this festival review. Also of note before we really get started, Ray was nominated for the first time as Best Director for these gems–in her DEBUT efforts! That in itself is an accomplishment for the films we got to enjoy, and for this critic, I believe it heralds only the beginnings of what we can expect going forward from this prolific and talented indie artist. So, a hearty “Congratulations!!” to you, Indrani! Now, what we’re looking for–the films and my thoughts.
It starts with “A Short Hello”, a 10-minute excursion into the life of a single woman who’s seeing that having so much time to herself due to the restrictive state of lockdown has allowed time for immersive reflection of her life, then and now, plus thanks to a certain book–Love In The Time of Cholera”–love once treasured, then let go of for circumstances only revealed closer to the film’s finale, which carries such a stirring and convincingly potent message of inner hurt, the longing to fill a void, and the strength of forgiveness. It’s a study of the impetuous choices we make in youth and the realizations that absence when attempting to maintain a relationship can have consequences. The film has its key poignant moment visually transformed before our eyes as well, perfectly timed to mirror the atmosphere being conveyed. It’s very clever and effective. Sharma simply glows with a simmering though intentionally muted demeanor as the woman, making us feel, even in the simplest of actions, the tone of the character’s plight and heart throughout the film. Perfect.
“Dinner In Lockdown” forms the second “leg” of this trio via its 10-minute runtime that showcases the wealthy Malabar Hill, Mumbai home of two people just trying their best to weather the lockdown, handle the concerns of family and friends even as the initial vaccinations have become available, and all the myriad of other questions posed as they are about to share the standard evening meal together. But, it only takes a little more time to realize that things aren’t quite right, and how the film divulges this was so well-executed and unanticipated, delving into the notions of keeping up appearances, the secrets we keep, the decisions we MUST make for the sake of life moving on, and reassessing that which we’ve already chosen. It’s been staying in to avoid something else. The beautifully produced visual cue appears again, enhancing all of this to perfection. Dandekar portrays Malvika’s building tensions about all that is occurring and NEEDS to occur with poise and intensity while Ravjiani infuses Nirvik with a wonderfully affecting level of quiet and calm until he’s confronted with hard truths, which the actor then gives an apropos mood shift for the character that so deftly befits the events we’re seeing.
Finally, the grander lockdown story finds its conclusion via “Tea & A Rose”, a 17-minute narrative that sees the power of a random instance that bring two souls together who find conversation, tea, a walk in the yard, a smile, and some flora might just be a recipe for newly kindled romance in a time where all is not certain and the future seems veiled thanks to the lockdown. It is both playfully heartening and sometimes soberingly impactful here in depicting human beings connecting, trusting with care, expressive in thought, open to possibilities, and nervous while doing it as seen through the eyes of two older individuals. It’s charming and so necessary to realize that love knows NO age overall, still within reason of course. The connections of the past are also given their due, as is letting go and moving forward, and as that awesome visual cue makes yet another appearance, it provides this story with a wonderful finale. Rastogi is excellent here as Mrs. Khan, whose life has suddenly been delightfully upended with the accompanying butterflies with it, which Rastogi plays to a “T”. Hussein has always been a favorite character actor of mine, and here he once more exudes that natural “everyman” charisma that makes Mr. Sen “the man” in the best of ways.
So, in total, with their emotional quotients planted firmly and with absolute conviction on their sleeves, the realities of COVID-19 and its effect on five characters’ existence illustrated with persuasive style and purpose, and serving as a necessary reminder that even when all seems lost or uncertain, LOVE CAN PREVAIL in so many ways (even if it has to be some tough love), the “Love In Lockdown” Trilogy stands as a testament to creative and artistic expression conquering the worries and travails of this stormy point in our history while demonstrating the gut-level perseverance and determination found in the indie film community so that we can clearly see a passion for impacting lives and telling stories will NEVER be snuffed out. Total credit to Ray and all other indie filmmakers who chose to say that a virus would NOT deter or shut them down from baring their minds, hearts, and souls through film. Cheers to you all.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
