By José Sarmiento-Hinojosa

Among my first views of 2018, I was given the opportunity to take a glance into two relatively new filmmakers’ work: Frank Mosley’s Parthenon and Mehdi Jahan’s Jyoti and Joymoti. While basically two very different works from two filmmakers of different nationalities (Mosley is American, Jahan from India), there’s a sentiment that I assume is common for these two works, and also common of our times: this sense of tragedy, of impending doom, of isolation; working as a mechanism of memory or pure human alienation. The personal and the political resound strongly in these two short films.