Bharat – Official Trailer

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The official trailer of the next big release, Salman Khan starrer Bharat is out, and this could be a Masala film done right! Other than the initial phase of Bharat and his 60s avatar, the rest of the getups and personas seem to be on point, and Salman Khan holds on to the challenge. Katrina Kaif though steals the show with a great first impression as Madam Sir, her introduction scene of the trailer is particularly good. Ali Abbas Zafar may have got it right for the genre he wants to hit.

Bharat releases on June 5th as the big Eid release.

MUSIC TEACHER Review : Echoes from the Past

The new Netflix film Music Teacher reverberates with echoes from the past that scream about regrets, incompleteness, and pangs of unrequited love in its silences. Directed by Sarthak Dasgupta, and co-written by Dasgupta and Gaurav Sharma (dialogues), the film tells a visually lyrical story about how a failed music teacher confronts his demons from the past at every step, and is torn up internally by his realities of not getting anywhere in life while being bogged down by the astounding success of his own protege against her will, and losing her in the process.

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KALANK : An Epic Scale Botch Up

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In one of the defining scenes of Kalank, Roop breaks the fourth wall and throws a question back to the audience to know “To aapne is kahaani me kya dekha – Kalank ya Mohabbat? ” I wish she could hear me saying “Kaash kuchh to dikh jaata..

And that in a nutshell is Kalank for me – a colossal disappointment as grand and as empty as the world it creates.

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LAAKHON MEIN EK : Indeed Stands Out

Laakhon Mein Ek Season 2, as created by Biswa Kalyan Rath, and directed by Abhishek Sengupta, is a grounded tale of suburban and rural India that exposes the deep rooted corruption and process inefficiencies of our medical institutions. At another level, it is also the coming of age story of a brave, young doctor, who is punished with a rural posting in a hostile village, and how she practically turns things around towards good without differentiating between duty and responsibility unlike what her seniors preach her to practice.

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TARIKH : The Refreshing Timeline of Emotions

Gulzar, in one of his reminiscences of Pancham, had once said..

Ye ghalat hain ki waqt guzar jaata hain.. Waqt, time eternal hain, permanent hain.. aur kabhi nahi guzarta.. Jo guzar jaata hain woh hum aur tum hain..”

In Churni Ganguly’s Tarikh, the three central characters Ani, Ira or Rudra could have easily said the same about life as it happens to them. The footprint that one creates during a lifetime on the minds and hearts of the near ones, or not so near ones, either in the real or virtual world’s timeline, becomes a permanent impression for life, even after people are long gone. The timeline hence gets frozen in eternity, and becomes a staggering documentation of what people stand for or cannot stand for in their lifetime – beliefs, fear, aspirations, insecurities, or passing emotions of joy, pain, envy, love, loss and everything in between.

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MUKHERJEE DAR BOU : Good Intent, Poor Execution, Forgettable Experience

Mukherjee Dar Bou is what happens when the intent of making a film about free spirited thinking against a regressive patriarchal backdrop gets terribly hampered by a writing style and character development heavily influenced by the daily bangla soaps of today! An important story about everyday women fighting their own insecurities and for their identities, while becoming the biggest enemies of each other as severely conditioned by the regressive societal upbringing and unconscious patriarchal thinking, gets completely lost in execution since debut filmmaker Pritha Chakraborty and writer Samragnee Bandopadhyay only know the over the top, theatrical and terribly cliched narration style to deliver their message. And it feels extremely sad when two women cannot shape the content about women in a dignified, poignant and effective way, and almost fall into the same trap of typical cliches that they want their protagonists to overcome and be victorious in life.

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MEAL Review : When Silence Speaks The Loudest

In Abhiroop Basu‘s short film titled Meal, silence speaks the language of chaos, decay, and overall societal disintegration. We meet a loveless family of four that is struggling to get over an abusive domestic situation in their own ways. They don’t exchange a single word between themselves, but their anger, pain and everything falling apart around them is evoked through a series of very strong visuals of a chaotic household. In a way, this home in focus is also a derivative of the society at large that is the victim of the widespread communal hatred and looming violence – as we hear echoing from the radio bulletin in the background.

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TRIPLING SEASON 2 : Loses its way terribly

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Let me begin with the confession that I had no idea about the Tripling world until very recently. I didn’t watch the Season 1 when it came out about three years back at a time when TVF show concepts were at their prime. It was only after Season 2 was launched and there was a buzz around it, that I watched both the seasons back to back. Of course it was the fresh, grounded and yet fun writing of Season 1 that ensured that I hung around and also completed Season 2 in one go. However, as it happens with multiple series, Tripling Season 2 isn’t even quarter as good as Season 1. In fact, its pretty bad in my opinion!

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BASU PARIBAR : Deep Wide Cracks

Basu Paribar, just like the traditional grand mansion of the family, wants to encash nostalgia and grandeur to make up for the lack of soul and attachment in the overall narrative. Just like the family in question, in spite of all the materialism on the surface, the deep wide cracks appear all over the cinematic narrative, and inspite of all the drama built up around dark forbidden secrets of the past, it never comes together as a unit to leave a lasting impact.

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FINALLY BHALOBASHA : Finally Goes Nowhere

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Chapter based hyperlink stories are nothing new to bangla cinema. Each of these chapters dealing with broken relationships, urban loneliness, existential crisis, or racing for peace against time is also nothing new. In fact we have see many of themes repeating regularly in Anjan Dutt‘s earlier films as well. So when he decides to package all these in a hyperlink format as three separate story tracks, and then tries to connect them all together in the final chapter called Finally Bhalobasha, it all appears like a forced gimmicky effort.

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