Much has perhaps been already said about Konkona Sen Sharma’s directorial debut ‘A Death in the Gunj’, and this review comes in pretty much late. The year is 1978, and the journey is from Calcutta to McCluskieganj. Winter has just about set in. Continue reading “A Death in the Gunj (2017) Hindi Movie Short Review”
Leena Yadav’s film is about women who have long accepted the injustice that has been meted out to them, and yet who do not think twice before making the grand escape, when they spot a door to liberty finally thrown open. It all seems a fantasy in the very final scene when the three friends buoyantly take to the streets, but then again, perhaps its the male mind that tends to disbelieve. Continue reading “Parched (2015) Hindi Movie Short Review”
‘Kadamkatha’ has little to proffer apart from a few faux insights that make an appearance towards the very end. And it’s a very long wait indeed for that final statement, with a screenplay that runs along a done-to-death trail for almost all of its running time.
Film maker Lokesh Kanagaraj adroitly places his characters in a sprawling city that engulfs anything and everything within, and let them be a part of a multi narrative plot that time and again overlaps and overruns itself.
The Hawa Mahal, where the four women in Alankrita Shrivasatava’s ‘Lipstick Under my Burkha’ reside, is as airy as it gets. Yet, behind closed doors, these women make frantic efforts to knead out the very last bit if life that is left in them, and try hard not to get stifled, strangled or choked.
Saheed Arafath’s film takes it real slow, but keeps its passion intact, and works on its patience to evolve into a film that has a life of its own. Beautifully captured on screen and adroitly directed, it could very well boast of being a notable film that unfolds its tale in its own sweet time.
‘Minnaminungu’ is not a mere tale of resilience and determination. It is an estimable film, the slip-ups of which are brilliantly veiled by a terrific lead, who thereby elevates it to much loftier heights. Unhurried in pace and simple in structure, it’s also a classic case of a fine actor standing tall over material.
There is the final scene that for me is the very best thing about ‘Sunday Holiday’, where the tales cross over to skilfully amalgamate into one. And it is this point that leaves you rueful, and wish that the romance that had preceded it had the bite that could have smartened it up into an evenly exhilarating cinematic experience.
‘Ayal Sasi’ strikes us as a counter measure to religious bigotry and cultural hysteria. Sajin Baabu and his deliciously irreverent work promises to force no amendments; rather it revels in an odd sense of acceptance and focuses on the absurdity of it all, where in lies its absolute charm.
At the end of an extremely long narration, vice is vanquished and righteousness triumphs. And you look back at it and what you see is an overly self indulgent film that never really knew where to knock it off, and which has instead evolved into an easily foreseeable experience that is obsessed with its own importance.
Set in 1983, ‘The Mule’, directed by Tony Mahony and Angus Sampson, follows Ray Jenkins, a televison repairman, who returns to Asutralia after a visit to Thailand, with a few heroine filled condoms resting in his stomach. At the Melbourne airport, trouble awaits for the first time smuggler, and he is detained by the customs officials.