Bhe Flight 182 events were the world’s deadliest act of aviation terrorism until the September 11th attacks of 2001. On the morning of June 23rd, 1985, the Boeing exploded near the coast of Ireland, killing all 329 people on board. The attack was carried out by members of the Khalistan Movement, a Punjab separatist group.

Flight 182 centres on a Punjabi family affected by the doomed Flight. Cognisant of a dying mother, the patriarch of the domicile must decide whether or not he will journey to see her, knowing his life could end if he does so. Boarding a vessel, husband and wife take the time to ponder whether or not it is worth this personal odyssey if the threat of bombs turns out to be something of a reality.

Early on in the short comes a chilling still: a bespectacled man positions dynamite in motion. Keenly observing the minutiae that goes into creating such an explosive device, Flight 182 then cuts to a woman flattening out dough in her kitchen. There is a news bulletin on the radio: “Canadian officials investigate acts of terrorism from a militant group”. She switches off the device for more pleasing tunes.

This particular family carries on with their daily lives, yet concern grows on the faces of the adults. “People are enraged,” the wife bellows at her husband; “..and you still want to go?” Reassuring that the holiday will only last a fortnight, the spouse sits down with his thoughts, only for fear to leap from behind the brown eyes. The daughter arrives into the room, begging the parents in English, only to be told “Speak Punjabi”. Self-determination is worth fighting for, particularly amongst immigrants abroad. Some take this stance by speaking a native language in the privacy of their secluded homes. Others choose repugnant means: they take up arms, and kill scores of people.

Paranoia fills the air at the airlines, as security do their best to discern what beeps they hear from their devices as they investigate luggage. “If it is loud, put it to one side,” they are told; “..and if it is soft, let it go.” One man spends practically a minute on a suitcase, unable to detect whether or not the sound is serious enough to alert his superior.

In terms of aesthete and camera movement, Flight 182 draws a comparison to 9/11 drama United 93 (Paul Greengrass, 2006.) Typified by tiny looks and facial gestures, both movies draw on the ordinary people taking a perilous flight. In this instance, director Rippin Sindher takes one moment of artistic cutaway, allowing an animated storm to dot the skyline, a protrusion witnessed by the men and women on the vehicle. This may or may not represent the intrinsic fears of the passengers themselves, imagining an impending apocalypse in the skies.

At less than 20 minutes of length, Flight 182 packs a lot of emotion. The cast is impressive, particularly Sundeep Morrison as the pregnant wife worried for the safety of the people on the other end of a radio. Tears stream down her face as the reality comes crashing down, an action of unspeakable horror Fight 182 is an impactful – even beautiful – work to witness indeed.

Flight 182 premiered at the International South Asian Film Festival.