Day 2 of the Hyderabad International Short Film Festival (HISFF) witnessed an overwhelming response, with the screening of nearly 50 short films at Screens 4 and 5, Prasads Multiplex.
The 12-hour screening marathon, held from 8:00 AM to 8:00 PM, drew hundreds of film lovers, with packed theatres throughout the day. Each official entry was met with enthusiastic applause, reflecting the audience’s appreciation for diverse narratives and compelling storytelling.
Further, 11 films were screened at the North-East Pavilion, highlighting emerging voices and distinctive narratives from the region.
Two official entries, however, stood out and received a standing ovation for their out-of-the-box content, gripping narratives, and universal emotional appeal.
“A Night on the Footpath”, a Telugu short film directed by Bharat Duvvada, portrays the life of a transwoman engaged in sex work. The film sensitively captures her nightly struggle for survival and dignity, while laying bare the harsh realities of sex work.Notably, unlike many films made on the LGBTQIA+ community, the lead role is portrayed by transwomanJhansi, lending authenticity and depth to the narrative.
“While returning home from the office one night, I noticed a couple of transwomen engaged in sex work to earn their livelihood. It made me reflect on their constant struggle for existence and survival, which ultimately prompted me to make this short film. I chose to keep it raw and realistic because their lives are lived on the edge, marked by vulnerability, resilience, and an everyday fight for dignity,” Bharat told the audience, who were awestruck by his work.
The second film to receive a standing ovation was “Toy Gun”, a Manipuri short film helmed by Parshuram Thingam. Set against the backdrop of a conflict-ridden Manipur, the film explores the life of a widowed mother and her young son, both living in the shadow of personal loss. While the boy wishes to play with a toy gun, the mother forbids it, having lost her husband to gun violence. Through her resistance, the film highlights how exposure to guns, even as toys, can normalise violence among children.
Beyond its emotional core, “Toy Gun” also succeeds in capturing the local culture through the spring festival of Yaoshang.
“Manipur has been in a war-like situation since 2023. In fact, the entire North East and the world are mired in conflict and war. A bullet can only inflict pain, and the one who pulls the trigger can never understand it. I tried to convey this through the mother’s character. Little do parents realise the consequences of buying toy guns for their children. In a way, they are normalising violence through play, which is unacceptable,” said Parshuram Thingam.
Interestingly, the role of the boy is played by the director’s six-year-old son, Parihanba. Toy Gun marks Parshuram Thingam’s directorial debut. He pursued cinematography at the Manipur State Film and Television Institute.
Panel Discussions
Day 2 also featured two engaging panel discussions with members of the main jury and special guests from the world of cinema, including Maithili Rao, Lena Das, Nagesh Kukunoor, Judy Gladstone, Sunzu Bachuspatimayu, Utpal Borpujar, Alexander Leo Pou, Christopher Dalton, and Balaji Aika.
The panellists deliberated on the dynamics of parallel cinema, the role of the National Film Development Corporation (NFDC) in promoting films rooted in originality and cultural values, the evolution of cinema alongside changing technology, and the importance of film festivals in creating space for alternative voices. Discussions also touched upon global cinema, audience expectations, and concerns over the growing influence of formula-driven “masala” films.
Renowned filmmaker Nagesh Kukunoor emphasised the need for filmmakers to clearly understand their target audiences, noting the widening divide among moviegoers.
Canadian film critic Judy Gladstone recalled how her dialogue-free short films made for the Olympics connected with audiences purely through visual storytelling.
Film critic-author Maithili Rao suggested that film societies must engage young minds at the school and college levels before they are influenced by formulaic masala content. “While commercial cinema objectified women, parallel cinema placed women at the centre of its narratives. It is high time we revived it. The younger generation is exposed to diverse cinema, new narratives, and evolving aesthetics.”
Manipuri filmmaker Sunzu Bachuspatimayu stressed that global audiences respect strong local cultures and originality, observing that contemporary Indian cinema rarely produces classics. He cited the Malayalam film Manjummel Boys(2024) as an example of a locally rooted film that found global acclaim.
Assamese filmmaker Utpal Borpujar spoke about how filmmakers and actors in the North East actively travel to villages to connect with local audiences. “The North East cannot afford large-scale commercial films due to the lack of cinema halls, which led to the adoption of the ‘mobile theatre’ concept. Platforms like HISFF are crucial for showcasing our work,” he said.
Cinema Society of India founder Christopher Dalton urged young filmmakers to create films from the heart and remain true to their identity and nativity. “Be shameless. Market yourselves. Only then will your work reach a global audience,” he said.
With powerful screenings, meaningful conversations, and enthusiastic audience engagement, Day 2 of HISFF reaffirmed the festival’s commitment to championing original voices, socially relevant narratives, and alternative cinema from across India and the world.
The HISFF will conclude on December 21 with the award ceremony scheduled for 6:00 PM.
Schedule and Synopsis: https://www.hisff.in/Selection.html
Tickets: Available on the District by Zomato app – https://shorturl.at/iRJBF
