Almost all reviewers of Haseen Dillruba will concur that this is a heady tale of triangulated desire between three people — Rishabh Saxena aka Rishu (Vikrant Massey), the archetypal good-boy, loyal and dutiful husband; Rani Kashyap (Taapsee Pannu), the wife of Rishu, who is an avid consumer of erotic-crime thrillers and aspires to live a sexually adventurous and imaginative life that she regularly encounters in the pulp-fiction that she reads
Tag: Film Review
With or without the political intention of its makers, history itself has placed a mountain of representational and creative responsibility on Axone. Immediately after its…
Axone, an extreme comfort food, rarely has an in-between. You either love it or hate it. It seems the film Axone by Nicholas Kharkongor, has gone the same direction as well. Much criticism has been poured on it in terms of accuracy and how it has dealt with many important issues, especially to North-easterners, on racism and discrimination. With everything else going on in the world, perhaps the film seems weak to many in its stance on these issues in light of present social and political conflicts. Thus, it has been chewed down, digested and excreted with all the stench to put off anyone going near it.
I enjoyed Axone thoroughly. Both the food and the film.
Axone, the film is being critically received and widely acclaimed for depicting the racial discriminations faced by the people from the Northeast in Indian metros, an aspect that has assumed a special significance due to a spike of racist attacks and discrimination against people form the region in different cities of India as the panic around COVID19 grows. Nicholas Kharkongor, the director of the movie, made this connection too in an interview to Outlook calling the movie has come in the right time, as “the idea was to be able to tell the story of Northeast people’s experience of living in a big city.”
Iewduh introduces us to a flatter Shillong, a more functional, possibly a more non-tribal aesthetic, but at the same time one which gives us, literally and figuratively, a more expansive view of the city.
I have learnt from the Facebook that Ranjan has shot Lord of the Orphans in his I-phone. He admits at Dhaka this time that about 20% of the film is shot in 7+ and 8 models of I-phones. Rest was done in Sony Alpha 7S2 camera. Both are light-weight. So called professional camerapersons would not perhaps even dream to use them. Ranjan is professional nonetheless. He kept his profession aside for a while. This actually was the illness he was suffering from. He planned Lord of the Orphans while recuperating.
Aashish Khakha on Spielberg’s Schindler’s List
Deep Choudhury’s debut venture Alifa is a story of a family’s struggle languishing in the margins. Young Alifa and her family lives in a hill overseeing the sprawling city of Guwahati. Her parents Ali and Fatima played by seasoned actors Baharul Islam and Jaya Seal work as daily wage labourers while she and her younger brother Faizal stay home or roam around in the wilderness. They go to the maktab and are waiting for a school to open in the vicinity to resume education. This family like many others living in the hill comprises of Muslims of East Bengal origin or ‘Miya’ Muslims. Hailing from Barpeta, they have lost their home and hearth to the Beki, a tributary of Brahmaputra.
Black Panther, apart from its spectacular reconstruction of an “Afro-future, also encapsulates the reality of indigenous societies of North East India succinctly. I don’t think there is any other popular movie in recent times than Black Panther that has engaged with the questions of modernity and oppression. It may have its problems (after all it is a movie) but the message of Black Panther needs reflection.
After almost a year of rigmarolic churning of volcanic events – from vandalism, to criticism, to criticism of the vandalism and criticism, and finally full-throated endorsement – Sanjay Leela Bhansali’s Padmaavat seems to have reached a moment of critical enervation, triggering an intellectual sluggishness of monolithic and polar responses. The film, and its legal and extra-legal instances of censorships fomented such frenzied passions that almost all sides of the political spectrum, from the right to the center to the liberal-left to the left…
The freedom to express and art’s license remain paramount and need to be protected; as a collateral risk, one ends up endorsing even films which valorise and romanticise abominable ‘values’… I take this chance to introduce you to a less-known terrain… a film by the name Tango Charlie, directed by Mani Shankar, a self-proclaimed anti-war film
Writing is unknown territory for me, but there is a personal reason behind me writing this review. The release of this film forces me to say something which, as a former wrestler for almost ten years, I’ve always pondered on.
Pink, whose script was written by men, didn’t quite challenge patriarchal conservatism. It merely took the variables already at hand—those of male centrism and sexism—and used them to make its story digestible to a conservative public.
Uneasiness and fear percolate from every pore of the visuals crafted by cinematographer Satya Rai Nagpaul and stay for uncomfortably long spans, making one feel as if the plot progression is happening in real time. There are other times when the camera wakes up as if from a manic dream and switches to fast pans. A good volume of the narrative is unfolded in what is not seen on screen. Violence and the bloodied armed strife is always a pervasive presence in its visible absence. Designed with minimalistic background music, Chauthi Koot carries forward these stylistic elements from Gurvinder Singh’s previous film Anhe Ghode Da Daan(Alms For A Blind Horse) that projected an unnervingly drab Punjab of the Dalits of Punjab’s Malwa who, till this day, work as seeri or bonded agricultural labourers on the fields of land- owning Jatt sikhs. In both films, the filmmaker is able to carve out a Punjab that is an antithesis of the vibrant and ever celebratory image of Punjab that one is used to witness in popular culture and Bollywood cinema.
Although I had seen both Chocolate and Goal, I never particularly cared to find out who had directed them. They were average films, displaying no trace of an auteur behind them, although they were enjoyable the way many Bollywood films are, but also, at the same time, completely and eminently forgettable. Both the films were set abroad, and had a mild nationalistic strain running through them which was also not very remarkable in that sense – Bollywood films shot abroad can rarely resist the temptation of a little flirtation with nationalism.
Buddha in a Traffic Jam, when seen in that context, is indeed a remarkable film as it purports to be a film of ideas, very glossily packaged – to be expected as Agnihotri cut his teeth in advertising.
The streaming begins and what you witness through Ranjan Palit’s lens is never a linear story. In Camera – Diaries of a Documentary Cameraman places before a viewer, collages—haunting landscapes and lives—from the fault-lines of Indian democracy.