Syamantak Saha

An impressionistic piece of art based on the musical piece "The Weeping Meadow" by Eleni Karaindrou, from the film of the same name by Theo Angelopoulos. It tracks a modern-day Pied Piper of Hamlin, as he plays his guitar through the streets of Calcutta. People from all over the city, morose, as if longing for something lost, come out to their balconies.

Kumaresh, on the run from a repressive right wing party, must spend the night at the home of a comrade who undergoes a strange shift over the course of the night, which progresses in anxiety and outright terror.

As a war threatens mankind, a pair of roommates tries to outlive a few crabs that they had purchased for a party.

A short, experimental film that traces how two lovers (who are actually CCTV cameras) argue about love, ownership and sex in a virulently capitalist state of thought, while negotiating new terms for their increasingly anarchic relationship.

The film proposes an anti-fascist way of life as a way out from the banal fascism that defines it. Nirvair wanders into an abandoned house and meets Shoaib, who happens to be the memory of Shoaib when he was living, before the world moved on. Over the course of the night, they engage in the spiritual process of attachment only to find out that they have known each other across the surfaces of time and space. Eventually, Nirvair must decide whether to remain inside the house and move towards his death, or leave, to reclaim his death-like existence continuously mutilated by violence, cruelty and fascism. The film is experimental, even within its non-funded domain, challenging the rigidities of filmmaking, self deconstructing. It focuses on slowness and inactivity, which are rare and vilified in a capitalist frame. Its preoccupations then become the surface of time and the ontology of the face.