Ravi Shankar Kaushik is a Mumbai-based filmmaker and engineer, whose passion for cinema runs parallel to a full-time career in technology. At 38, driven by a self-taught understanding of the craft, he made his directorial debut feature using personal savings and support from friends. We reviewed one of his first efforts, Chuhedaani (Mousetrap) back in 2019, as part of our SubmitYourFilm Initiative, with it actually getting a place in our Best of the Year List. Now, Kaushik has come up with his first feature, “Flames”, which is having its International Premiere at JAFF
In the caste-divided farmlands of Haryana, Mahesh, a mute migrant farmworker from a “low” caste community, tries to build a quiet life with his family. That fragile peace is destroyed when his wife is murdered by the powerful village head, Pradhan Ji, while the people responsible effectively blackmail Mahesh into silence. His young son, Mohit, is left traumatized and becomes a target of bullying at school. After a violent confrontation leaves his shirt stained with blood, Mohit tries to wash it on his way home — a moment that draws suspicious attention from nearby villagers.
When Pradhan Ji’s daughter suddenly goes missing, the villagers turn on Mohit, accusing him of the crime. Realizing their lives are now in imminent danger, Mahesh decides they must flee. With their home set ablaze behind them and the village closing in, father and son embark on a perilous journey — a desperate fight for survival in a world that refuses to let them live in peace. Along the way, Mohit’s Nani — his maternal grandmother — and her growing obsession with rituals begins to play an increasingly significant role.
Ravi Shankar Kaushik pens and directs a story with a clear objective: to show that lower castes in India are still exploited and persecuted, and how such treatment eventually leads to violence. The transition from depicting Mahesh and his family’s persecution to showing how they are forced into retaliation for survival is one of the strongest aspects of “Flames.” What begins with Mohit’s reaction at school gradually evolves into a survival-horror narrative, making the approach increasingly evident.
At the same time, the film underscores how each violent act perpetuates the cycle — and Kaushik’s final note suggests that only forgiveness and letting go can break it. This does not romanticize the conclusion; the gritty reality remains constant throughout, including in the finale.
Also noteworthy is the role of Nani, who essentially embodies the previous generation. Her growing fixation on occult superstition only adds more fuel to the fire. The scene before the finale stands out: it brings the narrative to its apogee, as tension and drama erupt in equal measure. Kalavati Devi as Nani delivers what is arguably the most memorable performance in the whole movie.
Beyond context, “Flames” thrives in presentation. The story quickly shifts into survival-action horror, with much of the action unfolding at night — intensifying the atmosphere. While there is some excess in the way Mahesh confronts scores of enemies, the approach works in terms of entertainment. Anshul Uniyal’s cinematography captures the proceedings with fitting grittiness and rawness; the images of fire, in particular, linger long after viewing. Manendra Lodhi’s editing gives the narrative a pace that shifts from a medium tempo to a fast-moving rhythm, although calmer moments are still present. With a runtime of 85 minutes, “Flames” does not overstay its welcome. The sound design by Yatrik Dave and Amet Vikram Bhandari enhances the mood, especially in the action sequences, though some direct sound might have strengthened realism.
Vikram Kochhar as Mahesh and Garvit Mudgil as Mohit are convincing in how persecution transforms their characters into something almost sinister, while their bond remains deeply felt — the final scene is especially telling. There are moments of excess here and there, but overall the acting stays grounded.
“Flames” is an impressive debut. Kaushik succeeds in blending social drama and intense commentary with a thriller-style survival narrative — a combination rarely seen from first-time feature directors.
