Manasanamaha

Drama, Experimental, Romantic
17 mins
India
Telugu
Winner
  • FFTG AwardJury Choice Best Short Film (Entertaining) - Shilpa Gajjala, Harikanth Gunamagari
  • FFTG AwardBest Director - Deepak Reddy
  • FFTG AwardBest Concept - Deepak Reddy
  • FFTG AwardBest Actor - Viraj Ashwin
  • FFTG AwardBest Actress - Drishika Chander
  • FFTG AwardBest Cinematography - Edurolu Raju
  • FFTG AwardBest Editing - Deepak Reddy
  • FFTG AwardBest Costume - Sulochana Surapu
  • FFTG AwardBest Production Design - Deepak Reddy

Trailer

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Synopsis

A young man muses on the nature of love, recounting three relationships from his past. The girls in his life resemble three different seasons, namely Chaitra (Spring), Varsha (Monsoon) & Seeta (Winter).

Stills

Title: 

Manasanamaha

Original Title: 

Manasanamaha

Production Year: 

2020

Subtitles: 

English

Director: 

Casts: 

Viraj Ashwin – “Surya”
Drishika Chander – “Chaitra”
Valli Raghavender – “Varsha”
Prithvi Sharma – “Seeta”

Writer: 

Deepak Reddy (Excuse Me, WTF, Hide and Seek), Shilpa Gajjala, Harikanth Gunamagari (Lipi, Arupu, Rangadeva)

Editor: 

Deepak Reddy

Dir. of Photography: 

Edurolu Raju

Sound Design:

Sync Cinema

Music:

Syed Kamran

Production Design:

Deepak Reddy

Costumes:

Sulochana Surapu

Director's Interview

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Festival: 

2020

Category: 

Short Films under 40 minutes

Country: 

India

Language: 

Telugu

Director's Statement

Manasanamaha roughly translates to ‘Salutations to the mind’ in Sanskrit. The film is an ode to the process of making memories and how they define our perspective. In order to communicate this to the audience, I chose to narrate this story in the first person perspective over the usual third person perspective. Of course it would be biased, but I felt it would also make it more human, full of errors and emotions.

When I started visualizing the film, I wanted it to have its own language, be it the structure, compositions, colours, cinematography, editing or even the narrative. A lot of work went into the cinematographic and sound editing techniques to evoke the sense of nostalgia the character feels while reminiscing. Use of a custom-made helmet rig for the POV shots helped set the tone, as did the fluid watercolour shots to bookend the different chapters of the story.

The idea at the heart of this film is that the endings of love stories can be happy or sad but the beginnings are always happy. With this in mind, I decided to literally narrate a story in backwards to end it on a happy note.

Deepak Reddy

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