Atlanta-Based Filmmaker Sanjay Arora’s ‘2 Khet’ (Two Farms) is a Devastating Tale of Land, Labor, and Loss
- The short film portrays the silent erasure of communities, the heartbreak of displacement, and the incalculable cost of forgetting where we come from.
Inspired by true events, “2 Khet” (Two Farms) is a quiet but powerful short film that explores the human cost of land acquisition in India. Directed by Jagat Joon and produced by Atlanta-based filmmaker and former tech professional Sanjay Arora, the film recently won Best Director at the South Asian International Film Festival of Florida (SAIFFF)—a recognition that speaks to its emotional depth, cinematic restraint, and the power of its storytelling, which is layered with Punjabi idioms and local wisdom. One such idiom, “Begani shaadi mein Abdullah deewana,” captures the surreal madness of greed and misplaced enthusiasm that often fuels unchecked development.
A Story Rooted in Reality
Director Joon was deeply affected by the wave of rapid urbanization and land grabs occurring in and around Bahadurgarh, a village near New Delhi. His film doesn’t just portray what happened in his village, it reflects the lived experiences of countless farmers across Delhi NCR, Gurugram, and Noida, where families have long been displaced in the name of development.
In “2 Khet,” two brothers live modestly but with dignity, working side by side on adjoining farmlands to support their family. Their quiet life is disrupted when a persuasive village chief arrives, offering increasing sums of money on behalf of a property developer. The older brother, worn down by hardship, initially refuses politely. But the younger brother stands his ground. Firmly and defiantly refusing to put a price on their ancestral land, their values, or their identity.
This defiance irritates the chief, or mukhiaji, who snaps, “When two elders are talking, children should not intervene.”
Some may find “2 Khet” too grim or its pacing too slow—but it is not a film meant to entertain. It is meant to unsettle, to provoke, and to bear witness.
What begins as a polite conversation over tea soon devolves into a cold, calculated negotiation. When persuasion fails, the developer makes his position clear: if the brothers don’t sell willingly, force will be used.
The story then takes a dark and devastating turn.
A Tragic Turn, and a Haunting Metaphor
One day, the younger brother doesn’t return from the fields. A gut-wrenching moment follows as his young son quietly informs the uncle that his father is missing. The older brother goes to investigate. What he discovers is horrifying.
The cinematography in this scene is particularly striking. As the sun sets, the water near the fields glows a deep, reddish hue, visually symbolizing the blood that has been spilled on land that once gave life. It’s a haunting metaphor for both personal loss and the broader erosion of legacy and cultural identity.
Grief, Rage, and Retribution
In a scene charged with quiet fury, made even more ominous by his mother’s voice calling out, “Where are you going?,” a known bad omen in local tradition. The elder brother visits the village chief. The wily mukhia, adorned with a handlebar mustache and dogri cap, greets him with fake warmth. Seeing the land papers in hand, he smiles and offers a glass of water.
But the grief and rage simmering beneath the older brother’s calm exterior finally explode. What follows is best experienced firsthand, but the moment speaks powerfully to anyone who has faced powerlessness, injustice, or the false promises of so-called progress.
Some may find “2 Khet” too grim or its pacing too slow—but it is not a film meant to entertain. It is meant to unsettle, to provoke, and to bear witness. It asks viewers to confront the reality that in India—and in many parts of the world—farmers are losing far more than land. They are losing their livelihoods, their dignity, and in some cases, their lives.
Champion of the Short Film Format
I met Sanjay Arora in Atlanta, last year, and he sent “2 Khet” to me a few weeks back to pen a review. But after rewatching it on the big screen at the Tara theater at the 7th Atlanta Indian Film Festival on September 27, I was compelled to write my thoughts. Arora is a passionate advocate for the short film format, emphasizing its power and accessibility in the age of streaming and handheld devices.
“When I travel,” he said during a post-screening discussion, “I’m always watching short films. There’s so much incredible content from all over the world—it inspires me and gives me ideas.”
He also noted that at festivals like Cannes, many filmmakers are building their audiences by uploading their work to YouTube, gaining traction organically.
According to Arora, short films are more than creative expressions—they’re stepping stones. “Once you’ve made four or five solid shorts,” he explained, “you build the confidence and credibility to take the next step—a full-length feature. That’s how it begins.”
In the end, “2 Khet” is not just the story of two brothers. It is the story of millions. It portrays the silent erasure of communities, the heartbreak of displacement, and the incalculable cost of forgetting where we come from.
By the time the credits roll, the brothers have lost everything: their fields, their family, their lives. But their story remains—lingering long after the screen fades to black, asking one painful, necessary question:What are we willing to sacrifice in the name of development?
With one foot in Huntsville, Alabama, the other in her birth home, India, and a heart steeped in humanity, Monita Soni writes as a contemplative practice. She has published hundreds of poems, movie reviews, book critiques, and essays, and contributed to combined literary works. Her two books are My Light Reflections and Flow Through My Heart. You can hear her commentaries on Sundial Writers Corner, WLRH 89.3 FM.