What happens when the common ordinary man feels emotionally marooned because they are all trapped in a world of chaos and war? It could be a migrant Indian family desperate to go back home from a war laden Iraq, but their employer has opportunistically tricked them and their government has conveniently forgotten them. It could be a native Iraqi whose life has been shattered in the hands of an autocratic ruler and then by an unwarranted foreign invasion. It could be the trapped American soldier of the frontline whose inherent human instinct is long lost amidst all the violence and bloodshed but is desperately seeking a revival. Or it could simply be a young six year old boy whose innocent ask from life is to get his birthday celebrated, but last two years has robbed him of such simple joys of life. The new Zee5 Original film Chintu ka Birthday is a story of all such broken, marooned people who are desperate to cling on to life and its small gifts, however illusive they might be.Continue reading “CHINTU KA BIRTHDAY : Longing To Be Loved”
Natkhat – The thirty odd minutes long short film by Shaan Vyas premiered on the We Are One global film festival and is an important film that talks about how misogyny is most often ingrained in young innocent minds in their homes and in the playful environments surrounding them, and how it is critical for parents to protect them from the same even at the expense of exposing their vulnerable selves to this impressionable innocence.
Because the basic human dignity of the marginalized has become a monkey business in this country!!
.. Prateek Vats‘s sharp political satire Eeb Allay Ooo that brilliantly inverts its lens for a bold commentary on the power dynamics between ‘Lutyens Monkeys‘ and ‘the common man at their mercy‘ is an essential viewing experience, more so now than ever before!
In one of the more memorable scenes of Shubh Mangal Zyaada Saavdhan, writer-director Hitesh Kewalya poses a question back to an ordinary Indian couple on screen (read. us the audience) through one of his lead protagonists – Why does no one ever ask Jack whether he wants to go up the hill with Jill or Johnny? May be Jack and Johnny have a plan to live in love and laughter up there. He challenges the couple not to pre-set the mind of their young child that only Jack and Jill going up together will remain happy or should be accepted as the norm. He knows that the change for the child’s broadened perspective has to start happening right from there. He possibly wishes that at least that young boy doesn’t face the daily and most painful struggle of his family not accepting the way he is, and instead feel the imposed weight of their standards of normal to define his agency.Continue reading “SHUBH MANGAL ZYAADA SAAVDHAN : A Film We Need Even If We Don’t Love It Fully”
Abyakto (The Unsaid) leaves you in a trance of brilliance which is indeed difficult to capture in words. At all of 88 mins of runtime, debutant director Arjunn Dutta transports you into a world that is immersively poetic, heartbreakingly beautiful, intriguingly complex, and simmering with the melancholy of ‘nibiro bedona te puloko laage gaaye‘ in every frame.Continue reading “ABYAKTO : Brilliance Beyond Words”
Panga is a good film that could have been great. It is set on a very relevant and important theme of how one can reignite the flame of passion in women who make do with themselves and their dreams trapped in the realms of a kid and a home, provided the same family can stand behind her like a rock. Naturally the potential of the film to touch some raw emotional core was huge. Ashwini Iyer Tiwari has a panache for picking up such relevant slices of life and let those stories soar through her deft and deep writing while sprinkling them with everyday humor. Unfortunately it is her uneven and somewhat impassionate writing here that does not reach the height of her first two films, and leaves behind a somewhat tepid Panga.Continue reading “PANGA : A Luke Warm Challenge”
Enough and more has already been said about the awe that you are left with as you experience the cinematic spectacle called 1917, and how the tremendous craftsmanship of Sam Mendes wonderfully integrates everything from the ‘one take‘ cinematography in constantly changing war terrain, to impeccable battlefield action choreographed against mighty impressive warzone design, to terrific editing, to pitch perfect sound design and background score, to deliver the most compelling and visually enthralling theatrical experience in a long long time.Continue reading “1917 : Spectacle with a Soul”
It has been a few hours now since I have watched Chhapaak, Meghna Gulzar‘s new film based on acid violence, and inspired by the journey of Laxmi Agarwal – right from the horrific attack, her painful fight back, and her plunging into the larger cause to arrest the issue at its root. Yes it has been a few hours, and I still haven’t gathered myself to write in detail about it. It has been an overwhelming experience and the horror of what unfolded on the screen for two hours is still seeping deep into my skin, still shaking me up and the shock is difficult to come out from. The film feels so disturbingly real from its first frame to last – the trauma almost leaves you feel violated, but at the same time you can’t look away from these tremendous champions of life and their amazing story of hope.Continue reading “CHHAPAAK : Gruelling Horror, Triumphant Human Spirit, & A Deeply Moving Experience”
The first film of 2020 starts on a disappointing note. The latest of the anthology series by Zoya-Anurag-Dibakar-Karan, Ghost Stories, is their weakest collaborative effort so far (scaringly enough the trend on quality is downward with every passing film). Horror isn’t the easiest of genres though, and one needs to have a tight control on the sense of eeriness, atmospherics as well as metaphorical subtext to really make a lasting mark with it. None of these should be overdone just for the sake of it. Horror will only be haunting if one can elevate oneself from the jump scares and gore, and blend in a deep subtext of more relevant societal horror into the expansive play zone that the genre offers. Which is why there are only two shorts in the anthology that actually work.
Through Robibaar, filmmaker Atanu Ghosh wants to take the audience on a journey of delayering love, heartbreak and deceit that are essential elements of the complex human mind. There are shades of black and white in everyone, everyone is struggling with boxed up memories and hasn’t really been able to go forward much with life where it really matters, and the frustration has led to a sense of opportunism in everyone.