KOCHI: Joshy Benedict’s perseverance in the field of animation finally got its due reward when his film, A Coconut Tree, bagged the National Award in the Best Animated Short Film category recently. The 8.5-minute film explores the relationship between humanity and nature through the story of a family who finds solace in a coconut tree.
Written and directed by the Kozhikode-based animator, the film relies entirely on music and sound effects, with no dialogues or narration. Here, TNIE speaks to Joshy about his work, a coconut tree, and more. Excerpts
How did the idea for the film come about?
I have been animating for about 20 years now. I wasn’t planning to make a film. But I had so many stories and ideas in mind — stories I felt could be best expressed as a short film.
That’s how A Coconut Tree took shape.
A sense of nostalgia?
Absolutely… part of our lived experiences. All ideas are influenced by what we go through — what we read, what we see, what we live. Imagination, after all, is just an extension of those experiences.
When did you begin work on A Coconut Tree?
2021. At the time, I was working in a company, and on the verge of quitting. This idea gave me a reason to focus on something meaningful.
How would you describe the film in one line?
It’s about how nature does not give up on someone who lives in harmony with it.
Why did you choose a coconut tree as the focal point?
The idea came from hearing stories about coconut trees being burned down in our region. That imagery stuck with me.
Bijibal composed the music for the film. How was the collaboration?
When I approached him with the story, he immediately agreed to support it. From the outset, we decided the music would have an Indian essence, and he brought that beautifully to life.
Were there any new techniques you explored in animation?
While working, I applied very limited animation theories that I had learned over the years. Animation allows us to create what reality cannot.
For this film, I wanted a realistic feel, but with subtle movements. Lighting played a key role in setting the tone. The story is set 30 years ago. It unfolds within a single day — from morning to night. The morning light is soft and optimistic, noon brings tension and heaviness, and the night offers a sense of sadness and closure. I carefully applied colour schemes to match these moods.
How does it feel to win the National Award?
It felt gratifying to see the animation being recognised, especially since I handled much of the work myself due to financial limitations.
It took me six months to complete the animation and about 10 months for the entire project. Such recognition will encourage more people to step into this field.
Any memorable moments linked to the film?
A woman, who stays near my place, cried after watching the film. She said it moved her deeply. That’s what I aim for — to create an emotional connection. I want viewers to feel inspired to love and preserve nature.
Is the audience for animation still limited?
Not really. I think we’re getting there. Art, in any form, connects with people eventually. It’s just a matter of time for animation to find its place.
What, to you, is the most important aspect of filmmaking?
It’s about how one conveys the story. Whether it’s the animation, acting, timing, colours, or shot composition — everything comes together to create meaning. Art needs a reason, and when that reason aligns with your initial thought, the work feels authentic.
What are your upcoming projects?
I’m working on another animated short film and a feature film idea. I don’t like to talk too much about my work — it’s better to let the work speak for itself.