Ashray Dravidian
A name to remember
And a name to look out for
A day will come when we will say with pride - We knew him since he was just this high 
The occasion: Ashray screened 4 of his short films for friends and family.
Asphyxia: His film school thesis project.
This very short first film is bursting at the seams with Ashray's deeply complex vision and the story's larger than life ambition. With very little dialog or narration, the film uses many contrasts to convey a twisted story of the Holocaust horror.
With alternate mixing of B&W and color in shot composition, symbolic terror and very physical torture in portrayal, very close focus mixed with blurry images in camera work, Ashray weaves a web of complex emotions.
Nirvana: Spoken in Kannada with English Subtitles
Perhaps the most straightforward of the quartet, the film is shot mostly without the dreamlike quality so dominant in the other three. Yet, the play of the subconscious is still a strong undercurrent in the story. The few touches of wry humor sparkled on the dark background of pathos. Perhaps as a contrast, Ashray shot the whole movie in very bright lighting, even the indoor scenes. Perhaps because if its essential Indianness, this film resonated the most with me.
Interlude: I think Ashray tried to give full flight to all his ambition in this film. This short film tries to grapple with several deep and varied concepts - where do stories come from; what is the relation between the writer, the story and its characters, the concept of time, psycho-analysis and surrealism. The film is an excellent example of surrealism. However, personally, I hope Ashray has worked off his fascination with Freudian psycho-analysis with this film, because both the brainscape and dreamscape offer much more fascinating stories.
They Scream in Silence: This film about surviving the Holocaust and the power of forgiving is not only his latest and longest film to date, but also Ashray's most disciplined and finest achievement. Though he still used the surreal elements he is so fond of (and very adept in wielding), Ashray clearly exercised a lot of discipline and allowed the characters to tell their own stories. By choosing to make the protagonist Kaufman a painter, Ashray conveniently makes a wider space for the exploration of the subconscious. And all the starring players delivered absolutely riveting performances. Every symbolism is employed subtly to pack the most punch. This short film leaves the audience fully satiated, a feeling that even many feature films fail to induce.
Bravo, Ashray!
It is my sincere hope, wish and blessing that you will be the Indian Ang Lee!!
You certainly have the talent.