American filmmaker Adam J. Graves’ live-action short raises a dignified voice against child labour and advocates for their education. Little Sajda Pathan proves to be an inspiration both on and off the screen.
Rating: ⭐️⭐️⭐️⭐️ (4 / 5)
By Mayur Lookhar
Live-action short—honestly, most of us, including yours truly, perceived this form of cinema to feature animated characters, just like mainstream live-action films. Well, mainstream cinema is so ingrained in our minds that we didn’t realise this art form, recently recognised and honoured by the Academy of Motion Picture Arts and Sciences, actually consists of real actors and real locations.
If it weren’t for the little-known film Anuja (2024), most common Indians wouldn’t have invested their time and energy in deciphering the words live-action short. Written and directed by Adam J. Graves, Anuja (2024) is an American film nominated for Best Live Action Short at the 97th Academy Awards. Shot entirely in Hindi, the short drama raises a dignified voice against child labour and, more importantly, backs the right to education, which is a constitutional right in most civilised nations.
The short is perhaps inspired by Graves’ experience in the Indian capital. His lead artiste is Sajda Pathan, a real child labourer who, despite being a newcomer, displays the confidence of a pro in her maiden film. 9-year-old Anuja (Pathan) and her teenage colleague Palak (Ananya Shanbhag) work in a humble garment factory, presumably in Delhi. A teacher and activist visits the factory, urging the exploitative owner-manager, Verma (Nagesh Bhonsle), to release the child from labour—not only because she is not an adult but, more importantly, because Anuja is exceptionally bright, especially in mathematics. Though she is keen on studying, the poor girl is too scared to speak her mind.
Palak realises Anuja’s potential and motivates her to focus on her upcoming exams. She secretly makes bags from scrap cloth and sells them just to fund the child’s studies. Being an orphan herself, Palak doesn’t want little Anuja to meet the same fate. Anuja means a little sibling in Sanskrit, and Palak certainly cares for the little girl.
The 22 minute short is an initiative by Salaam Baalak Trust, a non-profit, non-governmental organisation which provides support for street and working children in the Delhi-NCR. The trust came into being in 1988 with the proceeds from the film Salaam Bombay! (1988), with the aim to rehabilitate the children who worked in the film.
An American-produced film, shot entirely in India and in Hindi, encompassing the story of the many Anujas who roam the streets or are compelled into child labour. Oh, the very mention of such misfortune will see insensitive nationalists, and even some critics, up in arms, repeating how the West is only keen to show India’s underbelly. Our message to such a lot is always the same – if you don’t like seeing it in your films, then strive to rid these social issues and discrimination. Since they continue to exist, a noble filmmaker is entitled to tell human interest stories. No, this doesn’t stem from a personal view, but the right to education in India is enshrined in Article 21-A of the Constitution, which mandates free and compulsory education for children aged 6 to 14 years. This article was inserted by the 86th Amendment Act of 2002 and ensures that the state provides education to every child within this age group.
While Anuja reflects a bitter truth of our society, Graves’ film is more about igniting hope in a grim environment. There is a dream in the eyes of little Anuja and Palak. The short doesn’t show these young kids being coerced into child labour; rather, it’s sheer bad destiny that has brought them to such factories. If there is no money, there’s no food in the belly. Very subtly, Graves’ film underlines the dilemma that many Anujas and Palaks face in life.
Though destiny hasn’t been kind to them, Graves’ protagonists are joyful, positive characters. Here’s Anuja, who sneaks into a mall unnoticed and manages to sell two of Palak’s bags, worth Rs 40 each, to a customer for Rs 400 each. Naturally, this upsets the showroom manager, but the good-hearted customer is simply delighted to see the smile on the child’s face. It won’t be an easy way out for Anuja, as the showroom manager has instructed the security to track the street kid. Little Anuja somehow finds an exit but is confronted by a burly, angry-looking guard. Oh dear, there is a pause, and you fear the worst, but then the security guard lowers his guard, opens the door, and instructs the child to leave. The next second, that slight grin on security guard’s face brings joy not just to Anuja but to the viewers. The fun doesn’t end there, as a stunned Palak takes little Anuja, perhaps to the same mall, and they watch a film together. Every child has the right to education, but equally important is why one mustn’t be deprived of the joy of cinema. Here’s a lesson for all malls, cinema halls, and fancy restaurants: don’t turn away the poor if they are shabbily dressed.
The neatly written screenplay is also backed by competent acts by Pathan, a pure natural, and Shanbhag. Their beauty lies in their expressive eyes, free spirit.
Speaking to Beyond Bollywood, actor Nagesh Bhonsle beautifully summed up how a good short film is one that gives you the wholesome experience of a feature film or a series. In these 22 minutes, Graves takes us into the world of the Anujas, without being preachy, apprised of their problems and challenges, yet giving us hope and joy through their dreams, and warming our hearts through the pure innocence of a child.
Bhonsle, on his part, plays the cold-hearted, exploitative factory owner to a T. For him, the Anujas are nothing but cheap labour—children who can be easily manipulated. Starve them, deprive them of a world beyond the walls of these unsafe factories. The Vermas need to be dealt with, but Graves wisely leaves it up to karma.
Anuja’s last image is an open-ended climax, leaving viewers worrying for the child but not knowing what really happened. The end credits visuals, however, show little children from the factory smiling as they watch the short film Anuja. The joy on little Pathan’s face is a sight to behold.
Anuja (2024) is a film made with noble intentions and a vision to usher in a positive change in the lives of such children. Guneet Monga and, later, Priyanka Chopra coming on board helps promote the film and perhaps rallies support for its Oscars hope. But the statuette or not, Anuja’s real triumph lies in building an emotional connection. The next time you come across a street kid, walking barefoot selling balloons, flowers, books, or any stationery, you don’t need to feel compelled to buy their goods, but don’t shoo them away. Your mere kindness, a simple word, or a smile itself can make their day. Anuja leaves the viewer with the lasting thought that every child deserves an education.
Anuja is streaming on Netflix.
