The sets are of a meticulously stylised house -- with framed Audrey Hepburn black-and-whites over the cushy bed, a DVD collection that could possibly belong to Bhardwaj himself, and a pretty enviably stocked wine rack. Up and down on bookshelves and coffee tables are framed fun photographs of Ayesha Takia and Siddharth, the film's leading pair, casually positioned for authenticity. There are vividly coloured cushions strewn around, bright yellow walls, and pop-art style coca-cola posters.
In short, it seems like anything but Bhardwaj. "Yeah," he grins, "I decided to go urban, for a change."
Blood Brothers is a strikingly ambitious film for the short format, the director deciding to start almost like a thriller, his eyes sparkling as he rapidly reveals his plot. There will be no spoilers here, save for the fact that most of the action takes place outdoors, and I'm sitting in on the shooting of the cutaways, of key moments -- that's literally every second in an 11-minute film spanning a few years -- depicting the passage of time.
Right now, a sombre Siddharth (the impressive Rang De Basanti leading man) is trying to placate a disturbed Ayesha Takia. All is (finally) silent on the sets, and I don't dare attempt to head closer to Mr Navarro's lens in fear of my sneakers ruining the shot with a squeak.
The cry of 'Cut.' Ah, showtime.
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