The Chair: Triparna Maiti’s animated ode to childhood memory

Imagine a wooden chair in the corner of a living room becoming the subject of a short film. Belgian writer May Sarton would have certainly approved. After all, “a house that does not have one warm, comfy chair in it is soulless.”

In filmmaker Triparna Maiti’s The Chair, the wooden chair occupies a central place. Inspired by her childhood experiences of growing up in an Indian household, the animated short explores themes of power, belonging and identity through the story of a young girl navigating a patriarchal family structure and also delves into her fascination with her grandfather’s wooden armchair. The film is set to premiere at the 32nd Palm Springs International ShortFest on June 26, marking Triparna’s first festival appearance and international debut.

Triparna Maiti on The Chair, childhood and her Palm Springs ShortFest debut

Speaking about the origin of the idea, Triparna recalls that there was no single defining moment, but rather a series of impressions from childhood that stayed with her that led to the making of The Chair. “I was always fascinated by elders in the family—my father, my grandfather, and others. My father is the eldest among his siblings, and I remember the chair in that house had a very distinct presence. It stood out from everything else in the room. As a child, I never really felt like I fit into that chair. There was always too much space around me, and I had to stretch my arms just to sit properly. I actually struggled to get onto it. Later, when we visited less often, I would ask my parents to keep the chair for me. Eventually, I learned that the house no longer existed and the chair had been sold. That stayed with me for years. Looking back, I now understand that feeling better—the question I used to ask myself about whether I truly belonged in that space. It was an emotion I couldn’t fully articulate then, but it lingered. This film became a way to express that sense of longing.”

The decision to use stop-motion animation was equally intentional. “I was deliberate about choosing stop motion. The story is about furniture, something inherently tactile, so I wanted the medium itself to feel physical and grounded. Although I specialise in 2D animation, I also enjoy working with stop motion, even if it is less common. For this film, I wanted the memory to connect directly with something you can physically sense. That’s why I used real materials—wooden elements and 3D-printed components for the chair—so everything carries a tangible presence. I did consider 2D at one point, but it didn’t feel right once I began developing the storyboard. The image I had in my mind demanded something more physical. Stop motion ultimately felt like the only fitting choice.”

She acknowledges that translating emotion into this medium was not a cakewalk. “What you imagine in your head can never be perfectly replicated on screen. Still, I feel it has come quite close to what I envisioned.”

On the role of everyday objects, Triparna reflects on how meaning is shaped by memory and context. “As children, we have more time and attention to observe the world, so those impressions tend to stay with us longer. Today, life moves quickly. We are often distracted and don’t notice the details around us. Because of that, we don’t always form lasting connections with objects.  But childhood memories are powerful. Even simple things—a chair, a ball, anything nearby—can become significant. When such objects are tied to family dynamics or authority, they naturally carry deeper layers of meaning.”

As the film prepares for its premiere, Triparna expresses both excitement and gratitude. “Yes, I am. I hope people connect with it and respond to it. I’m very excited and curious to see how it is received. As an independent artiste, this is my first short film.”

The film is an international co-production between Luminary Pictures, Safarnaama Pictures, Humans of Cinema, Flying Turtle Studio and Damned Films. Commenting on the selection, Rita Meher, producer and founder of Luminary Pictures and co-founder & executive director of Tasveer, said, “What drew me to The Chair was its emotional honesty and Triparna’s remarkable artistic voice. The film transforms an ordinary object into a powerful vessel for memory, identity and human connection. We are delighted to see the film receive this recognition and make its world premiere at the Palm Springs International ShortFest.”

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