WATCH THE TRAILER HERE
WATCH THE FILM HERE
First, the Recap:
Substantiality vs. fantasy. In the efforts that comprise creative mediums, the line between what is real and what is only mere fancy can often become blurred. As our mind sinks farther into the endeavor to envision what we’ve constructed and/or determined to be the path a given pursuit, is it not easy to get lost in dream-like reverie where our sense of what’s true merges with what actually isn’t? In this state of being, do we then lose sight of our original purpose, caught up in a world of confusion, not knowing what is actuality anymore? For writer and director Vignesh (Vignesh Shanmugan), it is his big chance to pitch a newly formed script to a producer.
Mentally exhausted and unsure about the quality of his work, though reminded by his good friend and fellow director (Manoj) that this is the opportunity of a lifetime and shouldn’t be allowed to pass by, Vignesh starts experiencing a myriad of paranoid fears and supposed realities where someone is out to steal his work, undermining his goals and dreams of becoming a big time success in film. Even as Vignesh strives to move forward with other facets of what he pictures for his project, the constant existence of this unsettled mindset and questioning of who and what he can trust takes a toll, making it unclear as to whether it will lead him further into inner disarray or ultimately to understanding of what is and is not fact to grasp onto.
Next, my Mind:
A trippy, surrealistic journey of bewilderment, delusion, illusion, and delirium, plus the basic symptoms and present ramifications of the over-taxed imagination that can certainly occur when it comes to the creative mind at work, this 15-minute indie short film effort from director MJ Arun Babu is at first strangely, frustratingly baffling then completely, undeniably engaging in its depiction of one writer/director’s harried travels through writer’s block and the utter turmoil he encounters upon getting a potentially career-defining offer. This critic will totally admit having to watch the film twice through to really try and catch all the nuances and directions the story was taking so that it became much more clear what exactly was occurring, which isn’t at all a knock against the filmmaker or how the narrative was executed as much as I do believe it might take that for many viewers to fully grasp what it transpiring and appreciate the creative intelligence behind the project.
It becomes much more than just a basic study of the effects stress, pressure to be originally creative, and the anxieties of newfound avenues to success have on a person’s psyche, instead delving into what is really a portrait of what’s inside of all of us, a duality of how we see both the good and bad possibilities of what we are trying to achieve and how this all manifests itself when experiencing it as this character here does. I feel there is that inherent inward fear of actually finding total accomplishment in any endeavor we’ve poured every ounce of effort into making a reality, and the hesitations and doubts we allow it to manufacture could certainly unfold in the ways depicted in this film, especially in the context of a creative’s mind and overall mentality. Not trying to wax overtly philosophical here, but this critic has always felt indie cinema’s offerings provide deeper insight into the human condition than most mainstream efforts can manage, and there are many underlying subtexts to this film’s narrative that are, for me anyway, important to pull out and make viewers aware of, at least in my humble opinion. It’s a film you have to pay attention to, and sadly, not all audiences are willing to do that. Hopefully in this case, people will.
Visually the film is very straightforward, as there isn’t per se a real need for it to be otherwise given that story’s ultimate intentions are found directly in the lead character’s journey and experiences, though the smart utilization of equally uncomplicated imagery to illustrate his chaotic travels through the “realities” he is enduring while attempting to ascertain what IS the true nature of his situation vs. how much is purely imagined under the tensions which come about through the scenarios he believes are unfolding. This all makes the film’s finale even more impactful and worth the wait as it leaves you with even more questions and answers, but in the best possible ways. If anything, think of how a film like “Inception” left you at its conclusion, only on a much smaller though no less clever level. Arvind Raghunath’s music score adds to the wonderfully intense and unsettling atmosphere here as well, perfectly accompanying Ameen’s cinematography.
Shanmugan turns in a solidly convincing performance in his role as Vignesh, a struggling writer/director whose dreams of becoming a full-time, successful screenwriter and/or film director are suddenly thrust upon him after getting a chance to pitch a new script to a major producer. Yet, even as he has his trepidations about taking the leap, despite the encouragement of his best friend, what happens next becomes a mix of confusion and disquieting events as Vignesh begins to have fears that people are out to steal his work and betray him, though what is reality cannot be comprehended the deeper he allows the inner turmoil to take hold. Seeing his script’s story take place as part of his delusions (or reality??), it causes him to questions everything and everyone around him to the point of no longer being able to distinguish truth from fiction. Even after believing he has finally overcome it all, with an unexpected revelation about what work he has actually produced, things are left to conjecture upon his planned meeting which is the catalyst for it all. Shanmugan’s ability to portray this state of total agitation is well-played throughout by the actor.
Supporting players abound here beginning with Manoj as a fellow director, who appears to be both friend and foe as the story moves forward, though even he might be more than what he seems as Vignesh’s delusions keep coming forth. Nizam appears in a dual role as well, from the shady Mr. X to another key reveal that I won’t spoil here, Sharath as Mr. Y, a partner of Mr. X, Dingu Prabhu as a robbery victim within Vignesh’s script, and Manikandan as an auxiliary character. In total, “Phantasmagoria” is a smarty executed short film that causes the viewer, as mentioned above, to have to really pay close attention to details and subtleties in order to capture the core themes and essences of what’s being presented. It’s a reflection of who we are so often in the undertakings we strive to fulfill while providing an entertaining, mind-bending romp that deserves some notice and certainly earns the acknowledgements it’s already gained. Nothing like a dose of actuality—-wait—-it IS real—-right?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
