Aman Wadhan

História

Aman Wadhan studied direction at the Film and Television Institute of India, Pune. His practice is research-based, process-oriented and responds to living with awareness in light of transience. He is presently an Erasmus scholar, extending his learning with DocNomads at SzFE, Budapest.

Filmes

Portrait of Omar at 23
Portrait of Omar at 23
Director
“Omar is a student, not a refugee. He was in Budapest on a scholarship when we first met. He wanted to speak to the world. An unconventional portrait of my Syrian friend when he turned 23. His voice against the quiet flicker of an uncertain future.” Aman Wadhan
Usambara Violet
Usambara Violet
Sound
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Usambara Violet
Usambara Violet
Editor
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Usambara Violet
Usambara Violet
Cinematography
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Usambara Violet
Usambara Violet
Producer
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Usambara Violet
Usambara Violet
Script
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Usambara Violet
Usambara Violet
Director
"Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest."
Letter from Korlai
Letter from Korlai
Producer
In the time of yellow grass, with steps receding and prayers unanswered, a desire for oblivion forks the search for images of exile and belongingness. The setting is a quaint village on the Indian Konkan coast. The filmmaker had visited this place once, as did his friend, of whom nothing is ever said.
Letter from Korlai
Letter from Korlai
Writer
In the time of yellow grass, with steps receding and prayers unanswered, a desire for oblivion forks the search for images of exile and belongingness. The setting is a quaint village on the Indian Konkan coast. The filmmaker had visited this place once, as did his friend, of whom nothing is ever said.
Letter from Korlai
Letter from Korlai
Director
In the time of yellow grass, with steps receding and prayers unanswered, a desire for oblivion forks the search for images of exile and belongingness. The setting is a quaint village on the Indian Konkan coast. The filmmaker had visited this place once, as did his friend, of whom nothing is ever said.