ARTICLE 15 : When Change Begins with Each of Us

In one of the most impactful scenes of Article 15, Anubhav Sinha wants to expose the caste hierarchy deeply rooted within the system even amongst the protectors of law of our country. Most of them are not corrupt police officers per say, but they are just conditioned in a way since birth – so unconsciously aware not just of their castes, but even of the subdivisions within the highest and lowest stratas of that hierarchy. This is the team who have switched themselves off to a part of India that co-exists with them, but they turn a blind eye to ‘their‘ life and death problems, even without realising that their own life will become a dumpster without ‘their‘ help. This non-chalance and convulated thinking is baffling for their privileged and idealistic officer, and his extreme frustration shows up as he is at a loss of where to start cleaning the mess from. This is the India that has become.

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SUNO : A Call of Conscience

Shubham Yogi‘s new short film SUNO is extremely relevant and timely for today’s times as it brings the conversations around marital consent, entitlement and domestic violence to the center stage. The film becomes far more effective as it chooses to tell the story in an urban elite setup, where it is almost considered a given that both partners in a marriage will be far more woke and empathetic in their understanding for each other’s agency and concurrence for a conjugal encounter.

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TOY STORY 4 : A Heart Tugging Tale of Existentialism

When a twenty five year old animation franchise feels as fresh, lovable and heart warming even in its fourth outing that is here after nine long years since the last Toy Story, you don’t get surprised at all. After all, it is a happy family of cute, vibrant, dynamic, helpful and extremely matured bunch of toys who only want to feel loved at all times, and want the same for the kid they belong to. Their’s is a magical world where they are far more humane than the humans around them, and thrive by the emotions of togetherness, loyalty, wanting to make the world a wonderful place for the kids, and themselves. They also live with the biggest fears of obsolensce – of not being loved any more, of becoming a rejected lost toy, or of their datedness making them less relevant and desirable with time as they get passed over to new kids or new toys come and join the universe. But even in these most trying times and a struggle for existentialism, they still stick on to their wholesome goodness, united and loyal, to make this world a better place – to infinity and beyond!

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A MONSOON DATE : An Emotional Ride

Tanuja Chandra‘s new 20 minute short film A Monsoon Date is a thought provoking portrayal of a tensed and yet confident woman fighting the demons of her life and searching for acceptance for who she is. Written by Ghazal Dhaliwal, the film traces a rain drenched monsoon evening of Mumbai, where the protagonist Konkona Sen Sharma is on her way for a date with a man she has met about a month back.

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VINCI DA : A Thriller without Thrills

Vinci Da – Quick Take…

So I finally watched Vinci Da on Prime Video and thought it was one of the weakest films of Srijit Mukherji in 2018-19. It is a thriller without any thrill, and is predictable from start to end.

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Feluda : 50 Years of RAY’s Detective – A nostalgic trip

Let me begin by stating that for a generation of Bengalis, Feluda is not just a detective or the first childhood hero. Feluda is a much larger emotion. He is you growing up through your childhood, Topshe is you making Feluda an integral part of that childhood. And through the world of Feluda, somehow the genius who created this icon became far more accessible to you even during your growing up years, when some of his other work was more complex and aspirational for the young mind. For many like me, Feluda (who in a way impersonated the maker himself) was our first introduction to the magical world of Satyajit Ray.

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TEEN AUR AADHA : Memoirs of a Room


Ukranian filmmaker Dar Gai‘s (Daria Gaikalova) first Indian film (released for festivals in 2017, but finding its wider digital release only now in 2019 on Netflix) Teen aur Aadha has an interesting film premise when a house, more specifically a room, becomes a constant character across three different stories along its maturing timeline, with almost a common theme of central characters in each story wanting to break free off the confines of the same room. It becomes even more interesting when the each of the three stories are shot as continuous forty minutes long shots each without any cuts, as if trying to follow the arc of the protagonists up close.

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JYESHTHOPUTRO : Melancholic Musings of Life

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When a film casts the biggest superstar and the best actor of Bengali cinema of our generation pitted against each other in life and in performing arts, and head on acknowledges who is the better actor of the two and how that is often not enough for success; it makes a bold and highly self-aware statement about hard facts of life without being worried about any repercussions. Also, when a film’s story-line builds on the everyday mundaneness of daily lives, and thrives on its organic but predictable conflicts without trying to force-fit anything just for the sake of drama; one has to again applaud the fearlessness and the sure-footed awareness of the story-teller about his ability to touch lives without an attempt to manipulate emotions. Kaushik Ganguly and his profound new film Jyeshthoputro are brilliant examples of such confident and restrained poignancy!

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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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