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MAY I HAVE THIS SEAT | Omeleto

A pregnant woman asks for a seat on a bus. MAY I HAVE THIS SEAT is used with permission from Tabish Habib. Learn more at   / tabish_habibs  . During the smoggy season in Lahore, Pakistan, a very pregnant Sonia is running late to her doctor's appointment. She gets on the city bus, where she heads to the women's section of the bus, which is full. A few rows away in the men's section, she notes a man sitting with his son and asks him for his seat. He refuses, and after a few tense words, Sonia looks elsewhere. But when the bus hits a bump, causing Sonia to lose balance and fall into the man's lap, he grabs her. Sonia then accuses the man of harassing her, and they get into a verbal altercation that soon draws the attention, opinions and involvement of everyone on the bus. And when Sonia and the bystanders get their social media involved, the tension escalates to an unpredictable point. Written and directed by Tabish Habib, this short drama deftly takes advantage of its compressed yet public setting of public transportation to explore the tensions, resentments and assumptions of a broad swath of society. People who may otherwise never encounter one another are forced together in close proximity and often have to deal with the tensions that arise. Add the 24/7 watchfulness of social media to the mix, and a volatile situation becomes an even more potentially explosive pressure cooker. The film's naturalistic, almost documentary-like visual style telegraphs this angle of social observation, charting Sonia's travails and efforts as she attempts to find some respite as a heavily pregnant woman. But the film's quick-moving, alert storytelling -- as well as its sharp-eyed editing style -- does the work of laying out all the major players in the drama, even the side characters, who watch Sonia argue with a man who won't give up his seat for her. The conflict escalates quickly, with both Sonia and the man -- played by Rasti Farooq and Aqeel Nasir Khan -- reactive and quick to anger. Both fall back on stereotypes and social assumptions to shame and insult one another. Even the other passengers get into the act, and everyone has an opinion on what's unfolding in front of them, some of them quite funny. All of it is captured in cutting, realistically sharp dialogue, which weaves an overall picture of society's view on gender, power, entitlement and judgment. When an already stressed Sonia believes she's been groped, a squabble escalates to full-blown accusation and possible social ruin, abetted by live-streaming. With the added pressure of an audience of mobile phones, the clash takes on the strange, almost surreal cast of being both conflict and content -- and sends the whole narrative careening to a high-pressure conclusion. In the end, there are no winners in MAY I HAVE THIS SEAT, with Sonia and the man having moments of both sympathies as well as unreasonableness. The biggest casualty of the conflict is civility, where no one attempts to even understand the other side, much less find a way for both perspectives to co-exist. One can't help but wonder what kind of world Sonia's baby will be born into, full as it is of polarization, defensiveness and cacophony.