“Living and ceasing to live are two imaginary solutions; existence is elsewhere” – Andre Breton’s non-deterministic approach towards existentialism in The first Surreal Manifesto is brought out through a fiction, which we might categorize into a new genre – Existential Psychodrama !

Capital I is a fictitious character having it’s root in reality. There was an old house which was locked from inside with all windows  closed, and when the police broke open the door, they found no one, neither any living person, nor a dead body. They only found few papers lying, with some abstract phrases and pictures with the signature below reading ‘Capital I’. Police found the case unworthy of further investigations, as it doesn’t affect anyone. They close the case.

But media spreads the masala news about the mysterious character and creates a buzz in the town. A young girl, pursuing MSC Psychology gets involved with her old Physics professor to research about Capital I. They research on the name, the phrases and the pictures and wracks their brain through a lot of intellectual thoughts. They eventually starts transforming themselves psychologically. The girl, who wasn’t satisfied with her submissive boyfriend living in Delhi, gets into a state of deep trance and starts hallucinating. Under extreme stress of the research, she loses her conscious control. The professor, also into a trance, couldn’t break away, and the film suggestively ventures into the inevitable.

The film breaks away from realistic continuity and ventures into the surreal sphere. Scenes move randomly, just like a wandering mind having it’s root in reality. The film ends with an abstract culmination. Existence meanders through reality and imagination and ventures into a time-independent eternity. Moments tear apart and the debris of thoughts are periodically washed out, through the menstrual cycle of our minds. And the mind gets ready, yet again, for a new conception.