Mad

Vinod Rawat’s MAD (“Mother And Daughter”) has a phenomenally felt scene that conveys the conflicting emotional dimensions of two separate features within the duration of a short film. There is something immensely disquieting and strangely heroic about this film, or rather, this moment. A moment – requiring two adults to scramble beyond the conventional clicks of Indian womanhood – that is designed to make us feel as if we were encroaching upon the private vulnerability of a family in transition.