Our Films, Their Films, Celluloid Speaks — Budding Journalists and Filmmakers Without Borders

Few knew about the film auditorium. Unlike the overwhelming outburst of pulsating colors, kaleidoscopic paintings, and visual art, the crescendo of song and dance with guitar and drums, and a sea of sublime young faces, in tide after tide, the quiet film screening hall was tucked up on the first floor, beyond the photo shows, outside the visitor’s gaze. In the initial phase, it was dark and lonely out there. So, no films, in this grand show?

No one knew then that Himanshu Kumar and Pankaj Tanwar (SOSE, Andrews Ganj), and Atul (SOSE, Dwarka) were earnestly at work. Mentored by Mohit Garg, film teacher. The sound system was not working. There were other glitches. Mohit sent for a new sound system from far away in Dwarka. We waited. Fine-tuning the finer details. Lining up the films.

On the multiple screens, however, the anticipated show was marked by the backdrop of a raging fire, and a poem running on it. “Against war!” An incredible creation of Shraddha Mishra (SOSE), Dwarka. On another, memories of the “Partition of India,” curated by Pankaj and Himanshu. The show was subdued, but it was on.

And then, when it all started, the crowd of visitors, dignitaries, and school students started trooping in. Delhi Chief Minister was all attentive, seated on the sofa. The students explained their films. Earlier, admiring the photo show by students, she had jokingly remarked to the swarm of media photographers, “Watch out, they are coming. Your jobs are at stake!”

The Dwarka SOSE film on Palestine was different. “The Genocide in Gaza” was (is) in everyone’s mind; and the endless suffering of the people out there in the devastated open, amid relentless bombing, especially, women, mothers, and children, is so stunningly stark, that the poetry in the film touched a chord. Girl students, wearing the black and white keffiyeh, the mark of Palestinian identity and resistance, and showcased in solidarity by all supporters, recited poems by Palestinian poets. 

However, “Ground Zero” was a super hit. A three-minute documentary, the film was dedicated to the ‘Brave Journalists of Gaza and other conflict zones’. Unofficially, 200 journalists have been killed in Gaza by the Israeli forces, some as targeted assassinations, in the line of their duty. Those who have survived continued to report from the ground. 

(With PRESS written on their jackets in huge letters, you can see a viral video in which men and women journalists are singing an old favorite, in loud chorus, full of cheer and resilience, hands waiving, eyes flashing, after the ceasefire was declared recently. Even while others continued to report on the bombings and killings while the talks were on.) 

Crafted by the team of Palak Yadav, Yashika Baghel, Nandani Nigarm, Chiransha Bhatt, and Laxmi, it gripped the mind and soul of the audience. With as many as 20 repeat shows over the three days, the understated short film, with explanatory text and moving visuals from the ground, told a longer story,  still incomplete. This ‘news story’ is at once tragic and brave.

Nandini, Yashika, and Laxmi, in their school uniforms, earnest and calm as anchors, presented a measured voice narrative. It’s not easy, to be fully aware that you can die, and yet you choose to report from the ground! These journalists are truly special, they said.

Indeed, hurriedly made, once its minor sound and editing flaws are eliminated, this film should hit the festival circles all over the world, and should be screened in schools and university campuses in India and abroad. And, of course, it should be screened for the families and loved ones of the journalists who were killed in Gaza, and those who have survived but refused to run away from their line of duty.

Said Palak Yadav, “What inspired us to create Ground Zero was a deep realization that the sacrifices of journalists in war zones often go unnoticed. Initially, my team was brainstorming ideas around the suffering of people in war and the importance of peace. As we delved into research, we sought guidance from Amit Sir, who generously shared numerous articles, videos, and insights with us… 

“Among these was a piece about four journalists who tragically lost their lives while covering the war. That moment struck a chord with me; it made me realize how little attention this subject gets, even within my own family, where no one seems aware of the dangers journalists face while reporting in such impossible circumstances. It became clear that this was a story worth telling—one that needed to be told and heard. And so, we decided to make Ground Zero to honor those journalists who risk their lives every day to bring the truth to light.”

Says Shraddha Mishra about her film, The Unheard: “As the director of ‘The Unheard,’ my objective is to amplify the voices of marginalized individuals who have been silenced, ignored, or harmed. The devastating consequences of war on innocent civilians and human rights cannot be ignored. Through this film, we aim to raise awareness, promote empathy, and inspire collective action to address these critical issues.”

Among other films, “Blindfold — Unveiling the illusion of technology,” stood out, for its original and path-breaking theme. A critic of our post-modern times whereby cold and impersonal technology has crushed all forms of authentic emotion and thought process. Says Aditi Pandey (SOSE, Rohini), part of the film team: “Imagine living with a blindfold you never realized you were wearing — woven from the threads of technology. This is the premise of this film, a tale that holds up a mirror to our world and asks: So, how long have we been blind to reality?…

“The story follows a character consumed by the allure of Artificial Intelligence (AI). This person’s life is dictated by Al’s commands — thereby making him/her into a silent puppeteer pulling invisible strings. Slowly, they lose their sense of time, emotions, originality, and individuality. They are no longer human, but an unreal shadow, molded by the lifeless rhythm of machines.

“This transformation is quiet yet chilling — a spectacle orchestrated by Al and modern technology to dazzle and distract. Have we, too, become puppets in this grand performance?..

“‘Blindfold’ challenges us to pause and reflect. Are we truly in control, or, have we already surrendered to the very systems we have created? While technology promises progress. It also threatens to strip away our essential humanity — love, compassion, and sharing. The freedom of knowledge, gained with so much hard work. The film is a ‘call to action’, urging us to remove the veil, to confront the truth we are so deliberately, or unconsciously avoiding.

“Surely, the blindfold is not permanent. We have a clear choice. We can choose to see, step out of the shadows, and reclaim what makes us human. Once again. The question is: Will we?”

Writes Yashika Gupta (Class 11, SOSE, IP Extension), on her film, Zindagi. “This film is a touching visual poetry that reflects on the struggles, dreams, and essence of life. It emphasizes that realizing our dreams is just the beginning; the real challenge is to take the first step toward them.

“This step is often the hardest, as fear, doubt, and certain negative people around us try to pull us back. In this visual poetry, I have portrayed the obstacles, inner battles, and moments of courage that shape our journey. It inspires us to rise above negativity, face life’s troubles with intelligence and resilience, and take that crucial first action to turn our dreams into reality, making zindagi, our life, truly meaningful.”

Writes Himanshu Kumar: “New Delhi witnessed an unforgettable experience as Lehar brought together a remarkable collection of films made by talented students. The event was a celebration of creativity, storytelling, and the craft of cinema, however eclectic.” 

(Himanshu and Pankaj Tanwar from SOSE, Andrews Ganj, and Atul, with Harihom from SOSE, Dwarka, guided by the teachers, spent the two main days of the festival holding the film screenings and managing everything to its meticulous detail. They did not have one minute to go out of the dark auditorium to enjoy the vibrant atmosphere in the galleries and out in the open where great art was on show, and students were dancing and singing in a heady outburst of passion and joy. They held the show together.)

Indeed, on the last day (November 23, 2024), Atul and Harihom, encouraged by a few teachers, chose to reopen the auditorium and have another round of screening. More than 5,000 students were reported to have thronged Lehar on the last day. All from other government schools in Delhi and the NCR. 

The auditorium was continuously packed. One bunch of students would leave, and the corridor, the sidewalk, and the hall would yet again be crowded — with young, eager faces becoming a new, attentive audience. Students were jostling for space to watch these short documentaries and feature films — something, perhaps, they lacked in their schools. 

Some female students asked, “Can we screen these films in our school also?” Two women teachers said, “What incredible talent is at work. Can you organize a screening in our school, followed by a discussion?”

“Umeed ki Ghoont” delved into the theme of hope and resilience. The narrative follows an adult man who lost his wife and a young boy who works as a delivery boy. They did not connect in the beginning. Finally, they both sat down and had a cup of tea where they shared their life stories.

Another notable mention is “Window: The Silent Storm,” a visually interesting film that explores the mind of an adult man who believes in the fake doctrine that men are ‘masculine and strong’, and that they don’t ever cry.

Says Umesh Kumari, the director, who also wrote the story, “This is a story that shines a light on the silent struggles men go through every day; battles that often go unnoticed. It tells the story of Arjun, a man weighed down by expectations and societal pressures. Through his journey, the film sends a heartfelt message: expressing emotions and breaking down doesn’t make you weak; it’s a brave step towards healing and finding strength. This film would not have been possible without the dedication of the entire team. Also, thanks to Nikhil Chaudhary, who brought Arjun’s character to life.”  

 Likes, through a series of vignettes in shadow and light, highlighted the mental pressures on young people in the digital age, in this case, a schoolgirl. Consequently, low esteem and depression become a psychological trauma for young girls seeking the fake satisfaction of ‘likes’ and social validation. 

The film makes us rethink the shallow concept of beauty and self-identity in an impersonal, virtual world with all kinds of viewers, many unknown — good, bad, role models, achievers, perverts, pretenders, and frauds. It points to the fake beauty standards, and lifestyles, which are becoming obsessive trends, as in Instagram, etc. 

The theme, content, and performances in the short feature film struck a chord with the audience, prompting discussions on the ‘mental health’ and ‘emotional well-being’ of youngsters who are hooked on social media. The film was screened to a packed audience on Day 2 of Lehar. On the last day, only meant for students, it had back-to-back repeat shows, with a packed hall, and an attentive audience. Some schoolgirls insisted on a repeat show. 

The original film, made in adverse circumstances in just about four days, runs for 12 minutes. It had to be shortened to four minutes because of the schedule in Lehar. With its technical and other flaws eliminated, and another round of professional editing, Likes (12 minutes) should stand out as a meaningful and relevant film in contemporary times. The film is directed by Aditi Rana. Her team includes Palak Jha, Yuvakshi,  Kush, and Ansh, all from Class 10, SOSE, Andrews Ganj. 

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Amit Sengupta is a journalist and teacher based in Delhi.