CREDITS

PERHAPS TEA (2022) dir. Omkar Bhatkar

-- ADDITIONAL VISUALS

TIME, DISTANCE, MEMORY ON FEATHER OF A WING (2023)

dir. Omkar Bhatkar

--CINEMATOGRAPHER

STORIES FROM THE RISALO: AN ANTHOLOGY OF SHORT FILMS (2023)

--CINEMATOGRAPHER, STOP-MOTION ANIMATOR, SOUND DESIGN EDITOR

MOTHER SCHOLASTICA RIVATA (2024) dir. Omkar Bhatkar

--CINEMATOGRAPHER

THE BLUE LULLABY (2024) dir. Omkar Bhatkar

--CINEMATOGRAPHER, SOUND DESIGN, FILM EDITOR

PIGEONS (GOŁĘBIE)

--DIRECTOR, WRITER, FILM EDITOR

KLARHEIT NACH DEM ORGASMUS (2025)

Conceived as part of an interpretation exercise for the theme 'AUFTRAG', which is the German word for Order or Command. The idea for this short film came in an imaginary speech I was giving in an imaginary interview, answering someone from the audience who asked me the cliche question of 'What advice do you give an aspiring artist/filmmaker?'

The answer I came up with is so self-indulgent, I fell in love with it. The fact that I cast myself as the 'Assistant' is not to add any meta layers to the interpretation, but arose instead out of necessity, since I could find no person to do the things the 'ASSISTANT' is supposed to do.

WRITTEN AND DIRECTED BY ANOSH AIBARA

AUTEUR: PRATYUSH SHINDE

ASSISTANT: ANOSH AIBARA

EDITING AND CINEMATOGRAPHY BY VIRAJ DEY

NOR I (2025)

The idea to do something with Samuel Beckett's 'Not I' was stirring in my head for a long time. I came across Beckett's piece, not in the written form, but as a play recording of the original 1973 performance by Billie Whitelaw, as directed by Beckett himself. In 2001, director Neil Jordan adapted it to screen, not only with Julianne Moore, but also with cinematic grammar of cuts and close-ups. But somehow those cuts did not elevate the tension, but were relieving it. No, I felt this piece required something radically different were its tension to be translated successfully upon the screen. This is my interpretation of Mr. Beckett's piece, suited to the medium of film.

WRITTEN AND DIRECTED BY ANOSH AIBARA

ON SCREEN: RAJ KARIA

VOICED BY: ANOSH AIBARA

EDITING AND SOUND DESIGN BY ANOSH AIBARA

THE BITTER DANCE OF LONELINESS (2024)

Conceived originally as part of a theatre accompaniment, this project evolved into a spiritual celebration of the work of Farid Ayaz and Abu Muhammad Qawaal family. Filmed and performed with nothing but the deepest reverence to their music, we hope it pays a tribute to the beauty and strength of their voice and the rich 700 year-tradition of the beauty and endurance of the form of Qawaali.

FILMED, EDITED AND DIRECTED BY ANOSH AIBARA

PERFORMED BY: MAYURESH

ALLAH HU ALLAH, PERFORMED BY: FARID AYAZ, ABU MUHAMMAD

& FAMILY

GOŁĘBIE (PIGEONS) 2024

A disheveled pigeon on a windowsill reminds Ramona of a painful memory of her past that she thought she had successfully suppressed. Having resurfaced again she has no choice but to confront them in this dark night of the soul.

Gołębie (Pigeons) can be described as a happy accident. The film came together on two different occasions on two different days, begging to be made. It is an exercise in crafting a narrative out of completely non-diegetic sound and the sheer manipulative power of cinema as a medium.

Gołębie (Pigeons) was an official selection at the MESSAGE 2 MAN INTERNATIONAL FILM FESTIVAL (2024) and premiered at their IN-SILICO Short Films Competition in St. Petersburg, Russia.

WRITTEN, DIRECTED & EDITED BY ANOSH AIBARA

TRANSLATED & VOICED BY ZUZANNA GOJ

SOUND DESIGN BY ANOSH AIBARA

COLOR GRADING BY VIRAJ DEY

ORIGINAL MUSIC BY BRIGHTON GRACE (CAPGRAS)

STORIES FROM THE RISALO: AN ANTHOLOGY OF SHORT FILMS (2023)

Originally conceived for theatre, as an audio-visual projection accompaniment, the stop-motion animated stories work as short films in themselves, and together as an anthology, all picked from the same ancient Indian sufi text, The Shah-Jo-Risalo, the most comprehensive work of the revered, ancient Sindhi, Sufi poet Shah Abdul Latif Bhittai.

Throughout his lifetime, his poetry was transmitted orally, and transmitted in this manner for a few generations before being transcribed and compiled in the 'Shah Jo Risalo', also known as the 'Poetry of the Shah' .

The project was conceived by Omkar Bhatkar, who gave me the opportunity to collaborate on it, on essentially every level, from the adaptation to the animation to the cinematography, to the sound design.

Working on a barebones budget, the making of this film was filled with challenges and interesting experiences. Our 'Stop-Motion Rig' was a DSLR-mounted tripod taped tight to a bench. The amount of time, effort and energy given on craft-work was insane. Printing, cutting, sticking, drawing, making backdrops and landscapes, we did everything with paper, scissors, glue and a very loving team of ten people.

The piece has been staged four times, once in its original language Sindhi, in three different venues in two different cities.