![]() Vinay Chhawal's Thappad, my favourite of the lot, does the same in context of a child's imagination. Rakesh Sain's Nano So Phobia, about an old Parsi lady (Swaroop Sampat) whose growing dementia elevates her odd phobia of dwarfism, is too satisfied with its light-hearted gaze and theatrical punchline instead of aiming to examine the cultural epidemic of lonely pensioners through the lens of full-blown black comedy. ![]() It's never easy to earn a moment of release, less so in a 20-minute sequence that can at best condense the buildup into a highway of binary feelings. There's not much wrong with the film, but it's the degree of rightness that matters: I didn't feel the coming-of-age rhythm of its protagonist as much as I should have. This reverse-engineering – where the filmmaker seems to be struggling to flesh out the body leading to the solid punchline – is also visible in Vijeyeta Kumar's Sunny Side Upar, a short about a workaholic doctor (Rima Kallingal) who experiences a life-is-too-short epiphany in the hospital halls. Much of it is designed to highlight Gupta's uncanny body language, but the quirky background score and the repetitive framing of domestic routine point to an arc that simply bides its time to reach a striking final shot. Based on a middle-class homemaker who decides to protest against her taken-for-granted status, Pinni is visibly in awe of its lead actor. ![]() The most high-profile of the anthology is arguably Pinni, starring Neena Gupta and directed by Tahira Kashyap Khurrana (the better half of Ayushmann Khurrana). Retrieved 20 February 2021.For instance, let me start with the shorts that, despite some sweet performances, overstate their social environment at the cost of narrative potential.
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