Suno Sasurji -2020- Short Film -

Suno Sasurji -2020- Short Film -

At its core, Suno Sasurji (translation: Listen, Father-in-law) is deceptively simple. The film opens in a modest middle-class apartment in Delhi. We are introduced to Raghav (played by the late, great Deepesh Bhan), a stressed-out marketing executive. He is on the verge of a major career promotion, but his life is a juggling act of deadlines, diapers, and domestic duties.

His wife, Jyoti, is away visiting her parents, leaving Raghav alone with their toddler. The film’s catalyst is a phone call. Raghav must call his father-in-law, Mr. Sharma (played by veteran actor Ishteyak Khan), to wish him a belated "Sasurji Divas" (a fictional Father-in-Law’s Day).

What starts as a forced, awkward, formal conversation—filled with "Namastey Sir" and "Ji, bilkul"—quickly spirals into a raw, unfiltered therapy session. Raghav, sleep-deprived and overwhelmed, accidentally vents his lifelong frustrations. He confesses that he has always felt inadequate. He recalls the wedding night where Mr. Sharma told him, "Meri beti ko kabhi rula diya, toh pachtayega" (If you make my daughter cry, you will regret it). Suno Sasurji -2020- Short Film

For ten years, that threat has haunted Raghav. He has worked double shifts, bought a house he couldn’t afford, and suppressed his love for rock music to appear "mature." Suno Sasurji pivots when Mr. Sharma, instead of getting angry, laughs. He then reveals his own truth—he was once a son-in-law too.

The film climaxes not with a dramatic confrontation, but with a silent breakdown. Both men, separated by a phone line, realize they have been performing masculinity for each other for a decade. The title, Suno Sasurji, is not an angry shout; it is a vulnerable plea to be heard. a clenched jaw

Actress Aakanksha Singh (Geetanjali) delivers a restrained, volcanic performance. Her breakdown doesn’t come with tears – it comes with a drop in her voice, a clenched jaw, and a question that hangs in the air:
“Why was it always my responsibility to keep the family’s honor intact?”

Veteran actor Alok Nath (in a rare non-‘sanskari’ role) plays the father with tragic realism – not a villain, but a man trapped in his own conditioning. At its core

At first, “Suno Sasurji” sounds like a daughter-in-law addressing her father-in-law. But in context, it’s Geetanjali speaking to her own father – calling him out for behaving like a distant, judgmental in-law rather than a parent. That displacement of identity is the film’s sharpest metaphor.

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At its core, Suno Sasurji (translation: Listen, Father-in-law) is deceptively simple. The film opens in a modest middle-class apartment in Delhi. We are introduced to Raghav (played by the late, great Deepesh Bhan), a stressed-out marketing executive. He is on the verge of a major career promotion, but his life is a juggling act of deadlines, diapers, and domestic duties.

His wife, Jyoti, is away visiting her parents, leaving Raghav alone with their toddler. The film’s catalyst is a phone call. Raghav must call his father-in-law, Mr. Sharma (played by veteran actor Ishteyak Khan), to wish him a belated "Sasurji Divas" (a fictional Father-in-Law’s Day).

What starts as a forced, awkward, formal conversation—filled with "Namastey Sir" and "Ji, bilkul"—quickly spirals into a raw, unfiltered therapy session. Raghav, sleep-deprived and overwhelmed, accidentally vents his lifelong frustrations. He confesses that he has always felt inadequate. He recalls the wedding night where Mr. Sharma told him, "Meri beti ko kabhi rula diya, toh pachtayega" (If you make my daughter cry, you will regret it).

For ten years, that threat has haunted Raghav. He has worked double shifts, bought a house he couldn’t afford, and suppressed his love for rock music to appear "mature." Suno Sasurji pivots when Mr. Sharma, instead of getting angry, laughs. He then reveals his own truth—he was once a son-in-law too.

The film climaxes not with a dramatic confrontation, but with a silent breakdown. Both men, separated by a phone line, realize they have been performing masculinity for each other for a decade. The title, Suno Sasurji, is not an angry shout; it is a vulnerable plea to be heard.

Actress Aakanksha Singh (Geetanjali) delivers a restrained, volcanic performance. Her breakdown doesn’t come with tears – it comes with a drop in her voice, a clenched jaw, and a question that hangs in the air:
“Why was it always my responsibility to keep the family’s honor intact?”

Veteran actor Alok Nath (in a rare non-‘sanskari’ role) plays the father with tragic realism – not a villain, but a man trapped in his own conditioning.

At first, “Suno Sasurji” sounds like a daughter-in-law addressing her father-in-law. But in context, it’s Geetanjali speaking to her own father – calling him out for behaving like a distant, judgmental in-law rather than a parent. That displacement of identity is the film’s sharpest metaphor.