IFFLA 2025

IFFLA 2025: Humans in the Loop (dir. Aranya Sahay) | Review

Humans in the Loop reveals a side of AI rarely seen in cinema—where humans and technology influence each other’s parallel worlds in a therapeutic fusion of discovery and intervention.

If you haven’t passed around the word “AI” or looked at an AI application at least once a day, you might just be living on a different planet — a reality check is definitely in order. Forget therapists, calculators, or even assignments; AI pretty much solves everything in the blink of an eye. While it’s become so common among urban communities that AI is the new Google, rural societies, however, may still be oblivious to this rapidly evolving technology. IFFLA’s feature narrative Humans in the Loop places itself in a rural setting and blends in a poignant reflection on a world where technology is deeply infused with humanity.

Nehma (Sonal Madhushankar) is in a tough situation, dealing with a custody battle over her city-bred daughter Dhaanu and her toddler son Guntu, all while navigating a difficult divorce. Her only hope of proving financial stability lies in securing a job involving AI, where she is responsible for data labeling in a system known as “human-in-the-loop” (HITL). The ups and downs of her personal life, colliding with the demands of her new job, send her on a journey of discovery — a search for the deeper truths hidden within our modernized systems.

To start with, HITL is an augmentation of human capabilities to educate AI and align it with human input — we acquire a godlike power to guide a system that functions according to the data we provide. As technical and scientific as that may sound, the film never overwhelms the audience with complexity or turns into The Matrix Trilogy with robots. Fascinatingly, director Aranya Sahay’s meticulous vision juxtaposes two distinct yet equally important elements — human emotion and technological reasoning — and connects them through a parallel analysis. As we watch Nehma struggle with family and cultural challenges, and as Dhaanu becomes the unintended target of social backlash, we see how each character finds solace in their own way — while learning to appreciate technology as a tool for reconnecting with their roots, upbringing, and identity. The film subtly questions how a world brimming with information can be riddled with misconceptions, and how biased data can distort the very systems designed to help us.

Sahay’s screenplay constructs this analysis with care, highlighting the journey of individuals from diverse backgrounds — especially those willing to embrace the changes brought by technological advancement. It’s genuinely insightful to witness such a focused depiction of learners and dreamers — a perspective seldom seen, yet filled with moments of pure human connection and love, cultivated through the presence of AI. Sonal Madhushankar’s portrayal of Nehma — reminiscent of Vinamrata Rai’s performance in Fire in the Mountains — is soulful and, at times, so affecting that her inner turmoil radiates from the screen.

Produced by Mathivanan Rajendran (who presented Arun Karthick’s Nasir), Sarabhi Ravichandran, and Shilpa Kumar, Humans in the Loop is one of India’s most essential contemporary films. Its engagement with technology offers deep insight into how AI can be both challenging and rewarding — a vital tool for educating across generations — while reminding us that technology can never replace the warmth and emotional depth that define the human experience. AI may be a growing tool dependent on human support, but that leads to the ultimate question: is it truly intelligent and fulfilling? Nehma might hold an answer that casts AI in a darker light — but at the very least, it makes us all think more deeply, and perhaps, become a little bit wiser.

Humans in the Loop will be screening at IFFLA 2025 on May 8, 2025 at 4:30 pm PDT.

Niikhiil Akhiil

Niikhiil Akhiil believes that art has its own breathing mechanism. He’s a Malaysian-born journalist and film critic who loves matcha, sushi, and everything Japanese. He believes in having a mediocre, zen life filled with the blessings of indie films. His alter ego is probably Batman, who possesses a wealth of mind metaphors and a fondness for dark, slow-burning films. He has written reviews for films from Cannes, Rotterdam, Berlin, Venice, IFFK, and SGIFF, among others. He also feels that Michael Haneke deserves to be immortal.
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