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.
For most of us out there, ALS – Amyotrophic lateral sclerosis – remains an alien term, until you settle down to watch ‘Gleason’, the much acclaimed documentary on the life of the former New Orleans Saints football defensive back, Steve Gleason.
They call it a ‘black and blue comedy’, and with ample reason to do so. Sandra Oh and Anne Heche star in this film directed by Onur Tukel, that captures a strange and bloody rivalry between two women that lasts a life.
The incidental pleasures that Dileesh Pothan’s film ‘Thondimuthalum Driksakshiyum’ offers are many, like the sardonic wisecracks and the continual cackles, while it fundamentally holds an indelible charm inside. A luminously acted rumination on the ifs and buts of life, ‘Thondimuthalum Driksakshiyum’ has enough emotional and dramatic drive to let it qualify as a class act with exceptional intelligence and grace.