‘And the Oscar goes to’ does not rise to the stature of Salim Ahmed’s former films, and while it would be unjust to indulge in a comparison as such, it is also inevitable. While it does suggest that there is nothing more magical than what could be conveyed by the medium of cinema, it delivers the said magic, but only in very brief spurts.
Khalid Rahman’s ‘Unda’ is intelligent film making, and the ideological vantage point that it roots for, is one that has its fingers directed at the political scenario of one of the biggest democracies in the world. Never for a moment pretending to be erudite, ‘Unda’ is loaded with terrific insights that are fired away in quick succession, rendering it one of the most thought provoking Malayalam films in recent times.
Ashraf Hamza’s ‘Thamasha’ will remain one of my favourite films this year, thanks to its very unique shimmer and shine. Uproarious, tender, thoughtful and touching, it’s a warm hearted affair with a disarming genuineness that should not by any chance, be missed in the theatres.
‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.
‘Thottappan’ is a bittersweet film that appeals to you on several levels and yet leaves you wanting for more. The performances are outstanding and there are several moments that you would carry back home with you, but you would also wish that it had not stuck to the template that you have by now, grown so familiar with.
‘Ishq’ marks the arrival of another gifted film maker on the scene, who presents before us a fascinating study on how the human mind ticks, when pushed to exceptionally extreme limits and beyond. A brutal exercise that blatantly confronts a very pertinent social issue, ‘Ishq’ is a film that is so difficult to endure, and which yet, should be undeniably endured.
Despite all the mishaps and triumphs that mark Kuttimama’s life, this film is hardly any reason for celebration. V M Vinu’s ‘Kuttimama’ gradually and incompetently builds a hero; and by the final scene that we had talked about at the beginning of the review, the crafting, as mundane as it appears, is complete.
It’s literally impossible to merely look at Tamara Jenkin’s ‘Private Life’ as a poignant, yet hilarious account of a couple striving hard to start a family, late starters though they seem to be. ‘Private Life’ is much, much more, and presents a vivid dissection of a relationship that is stretched and strained in all possible ways before they get to see each other for what they truly are. Continue reading “Private Life (2018) English Movie Short Review”
Nadine Labaki’s ‘Capernaun’ is a one-of-a-kind film set in the slums of Beirut, where a twelve year old boy named Zain, serving a five year sentence at the Roumieh Prison sues his parents for having ‘brought him into the world’. A tale of infancy robbed of all its innocence, ‘Capernaum’ is a harrowing film that dwells on the injustice meted out to hundreds of thousands of deprived children across the world. Continue reading “Capernaum (2018) Arabic Movie Short Review”
The humour is intermittently effective, and at times all over the place; there is so much happening on one side, and so little on the other. The context is as unreal as it gets, plenty of opportunities are missed, and grace is far from sight.
The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.