Pallavi Paul’s films ‘Nayi Kheti’ and ‘Shadkosh’ work with notions of poetry, time travel and the possibilities of metaphysical conversations between the ghosts of poets living through different epochs of history. Taken from the fascinating anarchic text ‘After Lorca’, poet Jack Spicer writes to Garcia Lorca nearly twenty years after his death and unlike the book, amidst relentless velocity of images and sounds Lorca has to write back. Alongside a scientist speaks about the desire to reverse the rhythm of the day and the night and how that dream lacks creativity, because ordained laws of creation too must be challenged. Caught within the question of light and darkness is the image of cinema itself. Located as a witness to all these metaphysical, scientific and aesthetic exchanges are the poems of Vidrohi, a vagabond political poet. Nayi Kheti (New Harvest) and Shabdkosh (Dictionary) are not about the persona of Vidrohi, rather an attempt to use his poems as a kind of laboratory to test the tensile strength of resistance as a material of life.