Basil is one of the many young talents in Kerala who broke into the entertainment industry through short films. Malayalam short films are so well-liked now that occasionally even movie stars try their hand at making one, and streaming sites are overflowing with such productions from all over the world these days.

Even as the format has become voguish in Kerala, short films have also turned into an art form in itself.

In parallel, it has also been serving as a gateway to the Malayalam cinema business, particularly for individuals who have no prior connections, for over a decade now.

The short film scene in Kerala has undergone a significant transformation over the past few years and the quality of work has improved exponentially, as opposed to the early years that followed the YouTube boom in India when projects were typically subpar as the creators lacked the funding to hire a production team or purchase the necessary equipment.

Short films are now unmatched, thanks to their compelling narratives, flawless technical execution, and willingness to go to extremes that are unattainable by their mainstream equivalent.

But, how has it metamorphosed? What goes into making a short film? How are today’s artistes making the best use of this art form? What do those working in the field think about the current scene? Let’s see…

The journey from telefilms to shorts

Malayalis were accustomed to watching short-form content even before the advent of short films because Kerala used to make a large number of telefilms (also known as home cinemas or direct-to-video films) that never had theatrical releases but direct TV premieres instead.

The state saw a large number of such works throughout the first decade of this millennium, and even DD Malayalam (formerly known as DD4) used to regularly create telefilms. Even though they were often less than 90 minutes, these works were pretty comparable to full-length feature films, with well-equipped production crews and a spectacular cast.

Unsurprisingly, the large-scale migration of Keralites to Gulf nations (regions included in the Cooperation Council for the Arab States of the Gulf) contributed significantly to the growth of telefilms, many of which featured the lives and challenges of Malayali expatriates.

The popularity of telefilms was so much so that several senior and mainstream character actors like Bharath Gopi, Narendra Prasad, Nedumudi Venu, P Sreekumar, Zeenath, and Sona Nair have all been part of such productions. Directors too. Veterans like Shaji N Karun, P Balachandran, and Shyamaprasad have directed telefilms for DD Malayalam.

Speaking to indianexpress.com, National Award-winning director Pampally who has also helmed four-five telefilms, shared his memories working on such projects. “Like many of my peers, telefilms were a significant source of inspiration for me too. Earlier, when there were only a few television channels available, the most laborious task was to find platforms to telecast our works. As this was the era of sponsored programmes, telefilm-makers would approach TV channels, especially during festival seasons, and buy 30-minute or one-hour slots. Back then, we used to get 256-seconds of Free Commercial Time (FCT). Most telefilm-makers found the production budget for their projects via advertisements. Not just that, I know several filmmakers and technicians who used to survive solely by making such projects for TV channels during festival seasons like Onam and Christmas as they helped them make handsome profits.”

However, the appeal of home cinemas dipped in most parts of the state with the advent of umpteen number of entertainment television channels, though it is still prominent in northern Kerala. Short films, which were simpler to produce than telefilms, soon became the preferred choice among aspiring filmmakers.

The early days of shorts

“I made my first try at a short film in 1997 when the format was unheard of in India. Only a small number of artistes ventured out to make shorts and most of them were students of film institutes like FTII. But I was unable to complete that project due to budgetary limitations, particularly because dubbing studios were hard to come by. I started working on a new project in 1999, and happily, it went smoothly that time. The lack of venues for screening short films, however, was a significant problem. As the number of film festivals was very low, the task of arranging screenings also fell on directors,” says Pampally who has made several award-winning shorts, including Laadam, Lorry Girl, Penma, and Orikkalkkoodi.

Around the beginning of the previous decade when the older generations had already found solace in television soap operas, the dot-com bubble burst and social media platforms started to gain traction in Kerala.

Reflecting on those times, journalist and short filmmaker Jinesh VS tells indianexpress.com: “I was in college then. Though social media platforms were becoming trendy, not all had internet connections. I have memories of reading about short film festivals in newspapers and going to see them. Ma-Lo (Manasakshi-Lokasakshi) was one of the first shorts that stood out to me as a viewer. Its content was mesmerising as the work discussed a topic that was so unusual for that time. The following shorts, however, were made purely for entertainment; and therefore, I didn’t feel moved by many of them.”

Sooraj K R, the director of the recently released Malayalam short film Oppees Chollan Varatte, observed that many previous works tended to place less emphasis on technical quality and more on the message they were trying to convey. “Giving a message through your work is fine. But, it should be promulgated in a good manner so that the audience would feel like watching it. However, not many works that came out back then had this quality.”

However, short filmmaker Joyal Koovalloor says the early works inspired him greatly. “Shorts first gained popularity while I was in the twelfth grade. The artwork of that era deeply moved me, and it continues to do so. Ronnie Manuel Joseph’s Padakkam (2015) is one of the best works I have seen thus far. I watch it frequently even now. A good number of artistes who created those works are currently associated with the mainstream industry. That undoubtedly had an impact on me as an aspirant. Unlike the current generation of short filmmakers, our predecessors did not have that many resources; even then they managed to serve good short films. That amuses me,” he says.

What goes into making a short film?

Pampally opines that short films can be made in a slightly more relaxed manner than features because there is less possibility of things getting out of control.

“Even if the team behind a short film decides not to go for a detailed DI, they can nevertheless release the work because the majority of viewers will watch it on smaller displays like a laptop, TV, or a projector screen. But, the barrier of a limited running time makes it more difficult to develop a short when it comes to content. It’s difficult to elicit strong emotions from viewers in just 20 minutes. As a result, only a select few diligent directors will be able to connect with their audience on an emotional level as they don’t have enough time to construct a sturdy foundation for a powerful conclusion,” he says.

Elaborating on the production method, Jinesh states that, in Kerala, short films are typically either self-produced or made through crowdfunding. “Compared to feature films, it’s more difficult, if not impossible, to make money off of short films. Consequently, having a producer on board is generally out of the question. Even popular YouTube channels tend to favour ‘entertaining’ or potentially viral content. Finding the necessary funds and developing a financial plan are thus the first two most important steps in making a short. Budgeting is essential since most makers would be walking the financial tightrope,” he adds.

Sooraj also mentioned that it is hard for newcomers to find producers. “If you are looking to eke out a profit from the work, then you will have to go for stories that could potentially get more viewers on streaming platforms; in other words, you must choose commercial material. It will be easier to find a producer if you have such a story. Otherwise, the makers will have to wear the producer’s hat too. In such a case, proper marketing would be inevitable to increase viewership. Almost all newcomers will have to follow a similar procedure until they establish a reputation and find their position in the community. Today, we also have the option of selling our creations to well-known YouTube channels with sizable subscriber bases. This is also viable,” Sooraj tells indianexpress.com.

Joyal, however, said he believes that casting the right actors is the most important step in producing short films. “There are numerous short movies that are both well-made and have wonderful content. However, miscasting causes a lot of them to fall flat. Hence, I think casting is the step that is most important in producing a short film.”

The power and potential of shorts

In contrast to feature films, short films always have the advantage of attracting more viewers because they can be watched for free on a variety of platforms. This has unquestionably greatly democratised the processes of making and watching movies.

While shorts assist countless aspirants who hope to become filmmakers one day unlock the doors of opportunity, the medium has also established itself and many believe that the art form is ideal for discussing short and snappy stories.

Sooraj, whose Oppees Chollan Varatte, which debuted last month and has already crossed one million views on YouTube, says: “Short movies, in my opinion, have a distinct identity. Not all filmmakers make short films intending to break into the mainstream. Some stories are better off when conveyed in a brief style.”

According to Jinesh, short films have evolved into an extension of mainstream cinema. “Even the tools and technologies that the makers employ are largely the same. The same is indicated by the frequent use of sync sound. In the beginning, we had access to just handycams with an optical zoom feature. The aspirants of today won’t even consider purchasing anything less than a DSLR. Not a single person is ready for compromises anymore and everyone engaged in making a short follows the same procedures as their mainstream compeers, ranging from making storyboards to ensuring that their work is complete with appropriate DI and mixing,” he says.

A pathway to the mainstream industry — yay or nay?

Stating that he doesn’t believe modern short filmmakers view the format as a route to the mainstream business, Joyal said: “There is a tonne of short movies available right now. Scores of aspirants continue to make new work every other day. Not all of them will end up in the film industry one fine day. Girish A D and Alphonse Puthren are two among hundreds of film aspirants-turned-short filmmakers who eventually found their way to the mainstream industry. But what helped them was their uniqueness. They were not just short filmmakers, but the ones who proved their mettle via shorts. On the other hand, there also are people who make short films for the love. Some of them don’t aspire to become filmmakers. However, it cannot be denied that short films do make it easier for aspirants to approach producers as such works give the latter an idea as to what our potential, approach, and making style are.”

Jinesh also echoed a similar opinion and stated that the option of using shorts to demonstrate ‘professional experience’ is no longer realistic given how common short films have grown in recent years. “It is harder for me to break into show business because I’m not a product of any film institutes. I see short movies as a kind of practice ground. I’m not alone — many others are as well. All who were involved in the making of my short film Akam dream of creating a full-length film someday. Shorts can assist aspiring filmmakers to learn the trade. It may or may not help them locate a producer willing to invest in the feature film of their dreams. Conversely, many artistes make short films solely to screen them at film festivals. They are not concerned about YouTube likes.”

Pointing out that he did incorporate a few commercial elements, such as romance and comedy, in Oppees Chollan Varatte, Sooraj said: “The producer I approach tomorrow will undoubtedly enquire about my experience. Previously, we could simply provide a list of the directors we assisted. But because of the shorts we produced, we can now simply demonstrate our abilities. Though it will undoubtedly increase the likelihood of finding a producer for a feature picture, I won’t ever say that’s what all short filmmakers want.”

The constant tussle between quality and the ‘number of likes’

Noting that he believes digitalisation to be one of the most significant recent phenomena, particularly in the field of cinema because it enables anyone with a story and access to a decent camera to produce a work of art, Pampally, however, expressed his concern about the current generation of film aspirants fully utilising the capacity of the art form.

“We can discuss any ideas we may have through our works. As it combines many different art forms, I believe that cinema is the most potent art form of the twenty-first century. It has a great deal of influence as a result. Therefore, I surmise that all artistes should have a moral responsibility to contribute to society. I make a conscious effort to address socially relevant issues through my works because of this,” he asserts.

“But if you look at the recently released works, more than 60 per cent of them were created to earn a thumbs-up on streaming platforms. With the arrival of the YouTube channel Karikku, most short filmmakers began following the template used in their web series. Though a good number of these short films possess high technical quality with the actors rendering brilliant performances, their content is hollow. The audience don’t feel any form of emotional connection to these pieces; after watching one, they immediately forget about it and move on to the next. Although short filmmakers have a lot of options, they often choose not to use them. However, their counterparts in languages like Hindi, Marathi, Bengali, and Assamese are performing far better. I think only a few of our makers have a sense of devotion towards the art and society,” Pampally, who was a part of the juries that decided India’s official entry for the 2021 Academy Awards, and the 67th National Film Awards, said.

The unfortunate case of copy-pasting

Pampally continued, “One of Malayali filmmakers’ worst shortcomings is the propensity to copy-paste formulas that have proven successful for some productions. This also controls the creators in the short film community. Many of them are hesitant to try new things. Karikku’s characteristic style was quite novel when it was first released, and as a result, it attracted a lot of attention. But the viewership that other works which follow the same template get is because we don’t have many options. That’s why we are unable to produce works like Ahalya (Bengali, 2015) even in this day and age. I am not saying that we don’t create good or new content at all. Shorts like Kaakka are indeed appreciable, but their numbers are minuscule.”

Commenting on this issue, Joyal said: “Our short filmmakers have definitely been swayed by the distinctive narrative techniques, such as the usage of dialogues that appears unscripted, of channels like Karikku. We can easily find several shorts, web series and other works that have similar tones. But I believe we will quickly move past this. Just think about it… Following the release of Dileesh Pothan’s Maheshinte Prathikaaram and Thondimuthalum Driksakshiyum, several filmmakers began using the same ‘realistic narrative techniques’. But a change was brought about by the Covid outbreak. The same will reflect in the short film scene as well. Shorts like Anurag Engineering Works are truly a breath of fresh air.”

Weighing in on the topic, Sooraj said: “There are YouTube channels and makers that follow the Karikku template. They might be doing so either because they like it or because the profits from similar content have been strong. Although I won’t criticise their decisions to use certain storylines and approaches, I would argue that sticking to a single style is not very admirable. We need a wide variety of movies.”

But, Jinesh feels that while there are many aspiring filmmakers who come forward with unusual stories, themes and genres, there are still several shorts, despite being visually stunning, that have cliche content. “There is no denying that most Malayalam short films are technically marvellous. With exceptional cinematography, lighting, music, DI and editing, many of them are worth watching on big screens. Even content-wise, we do make good ones.” However, he continued, “Quite a few of them have platitudinous content. Since many consider making shorts a learning process, I won’t blame them for such stories. In such a discussion, we will also have to address works that compromise all technical aspects just for content. There is indeed only a fistful of projects, like the recently released Chuttu, that manages to blend both good content and technical brilliance. But I don’t think we don’t make good content at all.”

Politics in shorts

As a whole, the Malayalam industry, including the short film scene, has a long way to go in terms of producing works that address social and political issues such as caste discrimination in a more honest and incisive manner.

But, in recent times, many short filmmakers have created projects that discuss such themes which the mainstream industry is still reluctant to address.

When asked about this, Jinesh whose Akam premiered at the 2021 International Documentary and Short Film Festival of Kerala (IDSFFK), and was also selected to be screened at the Beijing Queer Film Festival and The Out & Loud – Pune International Queer Film Festival, said: “Short films are more fluid in nature. We are not accountable to any outside parties, which is one of the key causes of this. Those who are already on board, know what the film is. No producers or production houses back us and nor are we going to release our works in theatres. So, the figures are not a concern for us. Hence, there is more creative freedom. That’s why there are not many feature films that explore themes like sexuality and sexual orientation, whereas, there are several shorts that explore such stories. However, it would be great if popular cinema also started addressing such topics and started giving more space to the stories of the marginalised.”

But Joyal voiced that the mainstream industry discusses politics much better than short films do. “Many a time, I have felt that short filmmakers are trying to ram their views down my throat. It seems as if they made the short just to give a message.”

Elaborating on this topic, Sooraj said: “Our mainstream industry is quite small. Hence, it is very hard for us to sell our cinema if a work doesn’t have a star cast. That might be why we go for ‘safe subjects’ regularly. As opposed to that, shorts don’t have to face such a burden. Since platforms like YouTube are free, the makers can easily release works with such political content and people will watch it. Malayalam short film New Normal that released earlier this year discussed homosexuality and it garnered more than three million views. However, such content might not attract the audience to the theatre if it’s a feature film. In that way, yes, short films are freer. But I think that situation will change sooner or later and this trend will enter the mainstream industry as well.”

From the words of these artistes, one thing is certain – the short film industry is expected to continue to boom as more and more aspiring filmmakers step forward to produce shorts and thereby make their dreams come true. We’ll have to wait and see how the creators use the potential of this format to the fullest and how it will reform the entire motion picture scene in Kerala.