‘Rubaru Roshni’ is a stark reminder of the arbitrary ways traversed by the human mind and its immense potentiality to heal and be healed. Brimming with subtle nuances it narrates three heart wrenching tales that should serve as visceral memoirs of the immense power to forgive, if not to forget, and the indomitable goodness that we all sport within.
Arun directs his experienced and gifted cast quite sensitively, and rewards us with one of the most emotionally charged films of the year. This is also the reason why ‘Finals’ turns out to be my personal pick from the festival releases this year – a film that skillfully blends a heartbreaking tale with impeccable performances and some genuine, ingenious directorial vision.
‘Ittymani: Made in China’ lives up to its title in that it strikes you as a disastrous duplicate, and a trite one at that. Preposterous and preachy to the core, this is a film that does no justice to the talented thespians that it has on board.
It goes without saying that it’s a miracle that the film makers believed that a theme as this could work wonders in 2019. And it’s even a greater marvel that they got several sensible heads to give a nod to this project that could have probably made a ripple a good fifteen or twenty years back.
Appearing laboured and disconnected, and carrying very little intrigue, ‘Love Action Drama’ is a perfect example of what could be termed as fluff entertainment. There is barely a silent moment in this almost two and a half hour long sight and sound blast, and all you keep wishing for amidst all the cacophony is that it had a sound story to tell as well.
‘Porinchu Mariam Jose’ does not have specific points where it starts losing its way. Rather the antique tale that it narrates usurps both the aspirations of its maker and the efforts of its terrific cast, rendering it a stylized cinematic piece that is bracing to look at, but which sounds obsolete to the core.
‘Ambili’ lacks the beautiful dexterity that had made the director’s ‘Guppy’ a one of a kind experience. But it does pick up the brush and in a few masterful strokes leave a beautiful painting on screen that leaves you all impressed by the artful flourishes on show.
While it’s surprising that film as these continue to be made, it also has to be realized that ‘Kalki’ is more of an unapologetic testosterone show. It holds no false promises and delivers what it believes in, as inflated and incongruous as it appears to be.
Despite the showers having finally arrived after playing tardy for a while and the chill in the air around, film maker Girish A D props up a ripe watermelon right before you and slices off its sturdy top, unravelling the bright red pith that lies within, studded with glistening black seeds. Snatching a ladle off the shelves, he drives it straight in, scooping out oodles of mushy melon and dropping them straight onto a pitcher, even as you sit and watch in amazement, your mouths all set for a ship sail and your throats a tad drier than usual.
There are two things that will continue to baffle you after a screening of Sanil Kalathil’s ‘Marconi Mathai’, the first one being the courage to decide to film a screenplay as this. The second one is much more confounding and involves the almost unbelievable participation of a judicious actor as Vijay Sethupathi in it.
‘Sathyam Paranja Vishwasikkuvo’ does resolve with a certain degree of elegance, but leaves you wishing that it had a bit more polish to it. Affable and bland by turns, it has its fair share of thought worthy moments that float around in a pool of happenings and non-happenings.