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Life and death might look trivial to most of us. A retrospective along these lines would most probably make us ponder over almost forgotten events of the past and leave us with a cathartic release, most of the time. Yet some of us would never know what lies beyond death. The mysteries of what lies beyond has often left us anguished, but what we have learned most importantly is that these events are conjured up through an amalgamation of our consciousness. They are bold, unclear and that is what makes it so uncanny and mysterious. . A Planchette which is French for "little prank" is often used to summon spirits. Those who perform the rituals of fostering communication with spirits use "the Planchette" as a form of a medium. The spirits are then subjected to confrontation and questioning by the members of the group who believe they will get the answers to their questions about their longings, their fate or sometimes to have a little fun. This film deals with how the rendezvous of a family and their engagement with the planchette, which takes an eventful turn with unforgettable incidents that leave an everlasting impression on most of the members of this family.

The story revolves around the key cast including Basabdutta playing the role of "Lilydi", and Priam portraying "Bhoothnath", where we see how even after death some connections don't forfeit. The story's emphasis is on the distinct role of one's unfulfilled desires that they are associated with. The questions of the past and the future hover around along the whole stretch of the film. But one cannot be sure of what comes next. The story of Lily and Priam is one that comprises of a leap of faith that Priam took to help Lily achieve salvation. . We can never be sure of how fate turns the table for us when we least expect it. We live our lives in anticipation as to how to achieve the plots of and conquer the sole standing unfathomable death. The story has all the uncanny elements that one should expect in a mystery film. It is paced when and the music and sound effects complement each and every part of the film. Nonetheless, the story could have been far more stretched and detailed in its storytelling. The story is laced with emotional releases and forms of satire are also seen through and through.

All in all, the main message of this film is that ulterior motive of one's life is to leave a legacy and try to exit all means of attachment. It concerns every point in our lives that we try to bend to form roads of our desirable shapes and sizes. But no one escapes fate's hands and faces the wrath of that which has been wrongly done. Be it paranormal or in real life, we all owe ourselves the questions of existence but not to harm any other sentiments. We live in through our memories and that is enough. Review by Nabadipa Talukder/Cult Critic/CICFF

A short and sweet tale which remains true to its roots and presents a glimpse into the world of online dating in India, Destiny opens on a happy note but refuses to play by the book. Like any good rom-com, it comes with a serendipitous twist in the end following a quest for love, but unlike most, its ending is a bit unconventional.

With an impeccable grasp on the human mind and modern love, filmmaker Vikkramm Chandirramani paints a pretty scathing picture of dating gone wrong, but not so grim as to make you lose all faith in the institution of love. The conclusion resounds with and reaffirms the idea that everything happens for a reason, and all of it will have been worth something in the end. By doing so, it also shines a critical light on several pertinent problems arising out of such a ruthless dating culture that pits men and women against each other, in a contest for love. . The film with its vibrant and well-lit aesthetic opens with a conversation that all women have partaken in at some point in their lives. Tanya and Richa are twenty-somethings who seem educated, fun-loving and hailing from the urban upper class, exchanging a light-hearted conversation about recent developments in the former's love life.

Nikita Vijayvargia's Tanya is ecstatic to have matched with Derek on a dating site, whom she went out with a couple of times and has decided was "the one". Irrevocably smitten by her "perfect" catch, Richa confesses about her feelings to her closest friend and confidante Richa (played by Monika Panwar), who later becomes her partner-in-crime when it transpires that Derek is up to no good. The camaraderie between the two women holds the film together in the absence of Derek, who is pushed to the sidelines by these two power brands. . Unable to accept his loss of interest in her, Tanya plays the sleuth, stalker and prankster all at once, when she decides to teach him a lesson, for hell hath no fury like a woman scorned! Although the motivation for it may seem a little misplaced, considering how rampant and widely accepted ghosting has become among millennials, especially those who regularly use online dating apps and websites. Tanya's plight should be sympathized with, even if her mission for vengeance borders on obsession which Richa is wary about.

The film keeps the tone and its bilingual dialogues colloquial and recognizable, and its pace brisk-with fast cuts to and from places. As we hop from one cafe to another with Derek, who having fallen for Tanya's fake profiles is getting stood up every time, we feel quite sorry for him by the end. Played by a charming Bhupendra Singh Jadawat, Derek, as it turns out, was simply looking for a more spontaneous and real love. And that is perhaps why her plan leads to a happy ending, not for herself but for Derek. Although, without Tanya's malice and her elaborate plans to exact revenge, he may never have stumbled (literally) across it! . Smart and no-frills performances by the lead actors are matched by a neat directorial vision, competent execution and attractive mise-en-scene. The cinematography is on point, in keeping with the low-key urban, upper class aesthetic, and editing stitches these vignettes together, giving Tanya and Derek's quest for love a cohesive form.

In the end, viewers are left pondering upon the nature of online dating, and how difficult it is to actually meet the love of your life on a platform that automates you to act a certain way and expect certain preordained things. In the end, it's perhaps best to enjoy the experience and let things take their course. Chandiraramani's film manages to convey all of this with a slice from what could very well real life, with a pinch of humor, tough luck and a classic case of tables being turned. . Review by Prarthana Mitra

The beauty of films like The Oak Tree is that they deliver a compelling story while teaching an important lesson and giving you a choice, while providing a solid resolution. Surely, many people in today's world grew up in some sort of religious background. Many of us had grandmothers, mothers or aunts who had strange beliefs and customs we made fun of as kids but grew fond of and possibly even adopted as adults. In our youth, around teenage years, we lived through some sort of revolution, that either brought us closer to those customs or diverged us from them entirely. Masterfully, Jahan's film tells a very similar story. The short's premise is basic: a man has to cchooseeither between the village's faith or his trade. But as we move along the story with the protagonist, Fadel, we discover that it's not only about what he believes, but also about what the others believe in and about what others can pressure into him. Here he has a choice between a customer who trusted him and a village who wants to worship a tree, that in their right, has been marked by angels. Like a teenager, Fadel is faced with a choice - either his go with faith or lose it, entirely. I won't reveal much about the end of the film, but suffice it to say - it leaves you both satisfied and questioning. Possibly due to Ghazi Rabihavi's simple, yet charming and sophisticated writing that this ending comes to us in acceptance.

Many man versus faith stories fail to deliver, especially those presented on small screen, but Rabihavi manages to focus our attention to accentuate our own journey through faith. Even if you never experienced a spiritual crisis, the presentation of The Oak Tree will make you understand exactly what kind of feeling it is and why is it so important to humanity as a whole. Rabihavi also shows other interesting personal dilemmas, such as choosing your way over tradition, being peer pressured and staying sane, when others might view you as a little crazy. Those minute things tied together make for a wonderful story. The second biggest praise should go to Ethan Jahan, who directed this wonderful short. The vision he had for his film is clear and concise, helping Rabihavi's story become much more than just a page in another book of faith. It is through his talent at delivering emotion to the screen through lighting, cinematography and acting direction that we see a story develop. Keeping in mind that this is just a short film, we may expect great things from Ethan Jahan in the future.

The third most important part of this story is the cast. All of the people who worked on this film are phenomenal, truly developing simplistic, yet charming characters and gracing the screen with their large presence. It is a shame that most short film actors are often neglected and forgotten, especially those who come from international waters. It is our duty, then, to recognize these people and give them praise when it's due. This film may not be "acting Olympics" and it may have a simple heart, but it wouldn't be half as beautiful if it didn't have these guys starring it in. All actors in the film delivered wonderful performances and it would be an utter shame for them to be forgotten.

Overall, this was a wonderful little film that deserves acclaim and recognition. Sure, it is a simple story, but it's extremely relatable and told in a fashion that is new, yet close enough to home to hit us all. After all, even years later, we must remember our roots - this film serves exactly that. Reviewed by Rimute Terra Budreviciute/Cult Critic/CICFF