Synopsis: Handmade papermaking artist, Kaivalya dwells in a hilly region with life’s paraphernalia of solitude and normalness. She tussles with her past, reminded though the process of paper making, in her quest and inner conflicts. This life is self-chosen and well adapted in complete liberation. Her peace is reinvigorated in curating the passionate interest of papermaking. Kaivalya has befriended with it inordinately. For her confrontation with the absurd, unexplainable relations is key. She confronts situations and process to elicit the beauty of life. Not being able to understand or unplanned co- relations is what forms her dynamic character, which ultimately let goes.
She is independent, liberal, and skillful. Just as the priest goes no further than the church, she often visits the post-office to pick her letters as the distance becomes the delivery barrier. Her coming and asking for being intimated is taken for granted.
The short-film unveils a dynamic contrast in the paper-making process and the life chapters of Kaivalya. Her solace is in the feel, touch, and smell of the paper, and she is always surrounded by it. The steps enumerated of the process rhymes with her inner thoughts and actions. It is challenging to establish differences and similarities.
Kaivalya’s present stage of oblivion and self-redemption shakes hands with her early stages of pain and numbness on and off. Her hermetic life is entirely not veiled within the layers of different stages of life. Moreover, we encounter a parallel story, of two characters, representing her two stages of life. We see all these characters are correlated, similar to the process of paper, they churn with experiences to become one another. Through this convoluted tale of time, we understand the importance of pain and numbness to churn us into individuals of selfcare. The characters deal with issues that transcend time and age. These issues are constructed by society in a particular way for certain age groups to react. However, all these notions are filtered through the metal mesh, used while making paper, and lets us choose our own inclusive and exclusive thoughts. However, this doesn’t summarize the initial two stages, as they had experienced an unforgettable pain. The Primitive character (also a stage in Kaivalya’s life) is traumatized for suffering a loss of immeasurable quantum, and the mature, complacent character (also a stage of Kaivalya’s life) has been numbed and anesthetized predominantly. They are starved of completeness.
Exploring themes of, sexuality, inclusivity, pain and liberation, we understand the correlations and codependences in our lives. Kaivalya, though is in entrenched within a pulp like substance that eventually dries up and peals into a beautifully texture and nuanced paper.
Quote “more than anything, Seeped is not about what moments of contemplation can do to us, rather what merely causes it; the uncanny correlations. It entrenches you into your past, trickling down into stories of your life with no judgment.”
An Ardent individual learning and expressing his voice comes naturally to Mauraya, a 17-year-old student, through art genres like film-making, theatre, designing, and painting. Often he describes the medium of films as an act of resistance; reshaping and molding our society. He Co-wrote and Directed the ‘Unbinding’ Short Film about a gender-sensitive outlook on desire that won him 7 Awards and 20 nominations, nationally and internationally (including Oscar-qualifying festivals). A year before that. He started a campaign titled ‘Project Bansuli’ which upcycled and revived the lost culture of bamboo jewelry in the Dangs tribe, integrating them into the urban market. The culmination of this project was with a documentary titled ‘Looking Through the Bamboos’ that lend him 10 awards internationally. In continuation of this project.