The Dawn

Collection of documentary shorts by various acclaimed directors

Ranjit is a young man who has been assured a lucrative job in an Indo-British firm by a family friend. All he has to do is turn up for the interview dressed in a western style suit. As luck would have it, all city laundries are on strike that morning, and his only suit is dirty. The film is a frantic search for a new suit to be borrowed from any of his friends, to make it in time for the interview.

Shasanka (Sreeram Lgoo) is a retired teacher who lives with his wife and two daughters. The family is thrown into an uproar after he goes out for a walk and disappears from their lives. Each member of the family reviews her final hours and days with him to try and discover what, if anything led to his disappearance. The only clue anyone is able to discover is an envelope on which is written the name of one of his former students. When they visit her, however, she is unable (or unwilling) to enlighten them. Why did he go for a walk during a heavy rainstorm? Where did he go? Bengali filmmaker Mrinal Sen isn't saying.

Subhash is a photographer from the city, who has come to take pictures of some old temples and ruins in a village. Ruins fascinate him. While in the village, he gets acquainted with a young woman, Jamini, who has had her heart broken in the past, by another visitor from the big city. Will history repeat itself, or will she find a way out of the ruins at last?

The Indian entry in the BFI’s Century of Cinema series of documentaries

A pre-teen ager servant boy dies of carbon monoxide poisoning on a cold winter night. He was employed by a young working Calcutta couple (Anjan and Mamata) with a small boy of their own. Taking money from a neighbor's friendly daughter, he slipped away to watch a movie on a cold winter night. Finding his usual sleeping corner below the stairs too cold, he bolts himself inside the kitchen, where a fire was burning. The next morning we witness a powerful discovery scene like on the morning after Macbeth's murder. The door is forced open and we see the commotion in the apartment block which is the stage of the drama. Who is responsible?

7 September, 1980. A film crew comes to a village to make a film about a famine, which killed five million Bengalees in 1943. It was a man made famine, a side- product of the war, and the film crew will create the tragedy of those millions who died of starvation. The film documents the convivial life among the film crew and the hazards, problems and tension of film making on location. The actors live a double life, and the villagers, both simple and not-so-simple folk watch their work with wonder and suspicion. But as the film progresses, the recreated past begins to confront the present. The uneasy coexistence of 1943 and 1980 reveals bizarre connection, involving a village woman whose visions add a further dimension of time—that of future. A disturbing situation, indeed, for the “famine-seekers”! —mrinalsen.org

Burning with a desire to be a journalist, a young man gets his chance when a publisher -- the father of a friend -- suggests that he write a story on the daily life of the people in his house (several families worth of people). The material turns out to be too incohesive and abundant to work into a pointed, thematic article, and just when he is about to give up, his younger brother asks him a simple question: "How many coal burners are there in Calcutta?" This triggers an idea for a story about Calcutta's pollution -- and the aspiring journalist dreams of myriads of burner-toting citizens invading the publisher's home demanding redress. Maybe he is finally on the way to a story that matters.

The bread-winning daughter in a middle-class family fails to return from work one evening. The saga begins with worries at home, followed by midnight searches and finally a deepening crisis arising out of economic and moral constraints prevalent in the society. Yet the film speaks of hope and of strength hidden behind despair.