Britain in 1965, Yash Pal Suri bought two Super 8 cameras, a pair of projectors and two tape recorders so that he could keep in audiovisual contact with his relatives back in India.
In many ways, he was anticipating the webcam communications that he and wife Sheel would end up having with their daughter Vanita after she left for Australia. But he was also encapsulating the problem facing many migrant families who wished to retain their indigenous identity, while also seeking to acclimatise to their new culture.
Making evocative use of her father’s home movies, Sandhya Suri has made a compelling piece of social history that is also a deeply moving domestic melodrama.