Short Films | Indianxworld

In the contemporary media landscape, the short film has emerged from the shadow of feature cinema to become a potent vehicle for narrative experimentation, social critique, and cultural exchange. This paper examines the aesthetic strategies, thematic preoccupations, and production-distribution ecosystems of Indian short films in relation to their global counterparts (European, Latin American, and Asian). While world short cinema has historically been linked to avant-garde movements and film school pipelines, Indian short films—particularly from the last decade—navigate a unique tension between Bollywood melodrama, digital democratization (via platforms like Pocket Films and OTTs), and grassroots realism. Through comparative analysis, this paper argues that Indian short films are increasingly "indigenizing" global short film conventions (e.g., non-linear narrative, minimal dialogue, vérité style) while offering distinct interventions in caste, gender, and urban precarity.

World short films (e.g., Six Shooter by Martin McDonagh) often hinge on a single, escalating irony. Indian shorts, influenced by the one-act play and the katha tradition, tend to build toward a moment of reversal rather than a plot twist. For example, Bypass (2019, dir. Priyanka Banerjee) follows a traffic boy (Nawazuddin Siddiqui) for 20 minutes; the revelation is not a surprise but a slow-burn emotional collapse. This reflects a cultural preference for rasa (emotional essence) over shock value. indianxworld short films

Global short cinema excels at the absurdist metaphor (e.g., The Strange Thing About the Johnsons , 2011). Indian shorts, however, draw from indigenous traditions of oral storytelling and fable. Anukul (2017, dir. Sujoy Ghosh), based on a Satyajit Ray story, blends AI and domesticity, while Chidiakhana (2020, dir. Tushar Tyagi) uses a dilapidated zoo as an allegory for bureaucratic decay. Where world shorts often lean toward surrealism as an end in itself, Indian shorts use the fantastic to make the familiar strange—without abandoning emotional legibility. In the contemporary media landscape, the short film

The Short Film Transnational: A Comparative Study of Indian and World Short Cinemas Through comparative analysis, this paper argues that Indian

World short films have long used brevity to capture moments of systemic rupture. For instance, the French short Wanted (2018) depicts migrant detention with claustrophobic urgency. Similarly, Indian shorts like Rogan Josh (2020, dir. Shubham Yogi) deploy a single kitchen setting to explore Kashmiri-Pandit grief and Hindu-Muslim tension. Unlike the often ethnographic distance of world cinema, Indian shorts tend to embed the viewer within familial and communal spaces—the courtyard, the train, the chawl—making the political intensely personal.

The short film, typically under 40 minutes, has often been relegated to the role of a "calling card" for directors. However, in both India and the world, it has evolved into an autonomous art form. Internationally, festivals like Clermont-Ferrand and platforms like Vimeo Staff Picks have canonized directors such as Alice Rohrwacher ( The Pupils ) and Pedro Almodóvar ( The Human Voice ). In India, the death of mainstream short-film distribution in theaters was reversed by YouTube channels (e.g., Terribly Tiny Tales , The Viral Fever ) and later by OTT giants (Netflix’s Putham Pudhu Kaalai , Disney+ Hotstar’s short compilations).

The Indian short film is not a miniature Bollywood nor a delayed mimic of world cinema. It has forged a syntax of its own: long takes that honor durational realism, dialogue that oscillates between vernaculars, and endings that prefer rupture over resolution. By studying Indian and world short films together, we see that the short form is not just a format but a cultural accelerator — one where India’s hyperlocal anxieties speak to global crises of labor, migration, and identity. As streaming dissolves borders, the short film may become the first truly transnational genre, provided we retire the center-periphery model and recognize that a 20-minute film from Kolkata has as much to teach as one from Copenhagen.