Private Project

Judas Marie

Judas Iscariot resurrects after an unknown number of years and finds himself burdened with the task of slaying the reincarnation of Mother Mary along with the prophet of destruction in her womb.

In a theatrical/stage play based environment, the film reimagines Judas Iscariot and Mother Mary through a psychophysical lens, stripping away verbal expression to reveal characters governed by primal instincts and raw physicality. Their movements oscillate between restraint and explosion, mirroring the inner turmoil of betrayal, faith, and survival. By embracing an animalistic embodiment, the performance taps into a deeper, almost subconscious space, allowing the audience to engage with the characters instinctually.

  • Harsh Vardhan Kumar
    Director
    My Hate Letter to Cycles and/or Self Harm
  • Harsh Vardhan Kumar
    Writer
    My Hate Letter to Cycles and/or Self Harm
  • Harsh Vardhan Kumar
    Producer
    My Hate Letter to Cycles and/or Self Harm
  • Jai Vardhan Lakhera
    Key Cast
    "Judas"
    My Hate Letter to Cycles and/or Self Harm
  • Jahnvi Raj Sharma
    Key Cast
    "Marie"
  • Swati Sodhi
    Cast
    My Hate Letter to Cycles and/or Self Harm
  • Project Type:
    Short
  • Genres:
    Magic Realism, Horror, Fantasy, Thriller
  • Runtime:
    14 minutes 59 seconds
  • Completion Date:
    February 27, 2025
  • Production Budget:
    10,400 USD
  • Country of Origin:
    India
  • Country of Filming:
    India
  • Language:
    No Dialogue
  • Shooting Format:
    Digital
  • Aspect Ratio:
    2.39:1
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
Director Biography - Harsh Vardhan Kumar

Harsh Vardhan Kumar is a filmmaker—writer, director, and producer—whose work explores deep and socially resonant themes through the medium of short films and documentaries. His debut short film, My Hate Letter to Cycles and/or Self Harm, was acclaimed and officially selected for screening at the NFDC’s Mumbai International Film Festival (MIFF), along with several other notable film festivals across India.

Currently, he is in the post-production phase for two documentary projects. The first, Unending Ends of A Loose Knot, delves into the lived experiences and systemic challenges faced by the Scheduled Caste community in India. The second, Notes on A Conditional Reform, provides an insightful examination of Nepalese houseworkers and their socio-economic realities.

In addition to these ongoing projects, Harsh has recently completed post-production on his latest short film, Judas Marie, further expanding his body of work with its distinctive narrative and cinematic vision.

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Director Statement

This reimagining of the classic tale of Judas and Jesus but with a theatre/stage play based twist. Deeply rooted in Abrahamic texts—primarily the Bible—introduces an evolutionary twist to the well-known narrative. In this interpretation, Judas Iscariot has been condemned to an existence beyond humanity. Though he took his own life out of guilt for his betrayal, neither Heaven nor Hell would claim him. Cursed with eternal life, he has wandered the earth as a vagabond for years, carrying the weight of his sin.

Prophecies foretell that before the second coming of Jesus—or the arrival of the next great prophet—the Antichrist must rise. In this setting, Mother Mary has been reincarnated, now carrying the unborn prophet within her. When Judas discovers her existence, he realizes his role in the prophecy: he must assume the mantle of the new Antichrist. In an act driven by fate and inner torment, he kidnaps Marie, fully aware that she carries the child destined to shape the future. His objective is clear—he must fulfill his purpose by destroying both mother and child.

However, as the two confront each other, the lines between captor and captive blur. Judas is haunted by the same shame and guilt immortalized in Caravaggio’s The Taking of Christ, and his internal conflict resurfaces with every passing moment. Their relationship becomes a shifting dynamic of empathy and disdain, where the unspoken weight of their circumstances is expressed not through words but through psychophysical movements—a visceral, unrelenting dance between fate and free will.