In Jayesh Jaidka’s short film Preet, a young Punjabi woman, played with great vulnerability by Manasvi Sharma, has sought refuge from a violent marriage in India by escaping to New York City. The eponymous lead places her trust in her childhood friend Jugal, portrayed by Manik Anand. But over the 16-minute run-time, Preet begins to realize that she may have fled from one threat into another.
Writer, producer, director and editor, Jaidka uses this story to tackle misogyny, gaslighting, and a culturally engrained patriarchy. Jaidka’s cast of men tower over Preet, whose petite frame shrinks even further as the male characters in the periphery leer at her. Preet’s concern about her well-being in the company of these men is consistently shrugged off by Jugal. Terror, the movie says, accompanies the starting steps towards freedom, particularly for women.
The hope and betrayal explored in this film captures a small slice of life in a world where women are offered little to no say in their futures and their wants and needs are considered secondary to men’s. The world Jaidka brings us into is rich, dark, and saturated with colors. Red, the traditional color of an Indian bridal sari, thrums with anxiety, while blues and greens create small moments of peace. It is a gorgeous film, each shot driving toward the next as the audience navigates Preet’s fears and brightest ambitions.
Happy endings are not simple, or storybook, Preet tells its viewers. Instead, happiness and freedom come from hard fought victories and should be savored, treasured, and never taken for granted.
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