Member Reviews

Anu heads to Varanasi to immerse her mother’s ashes in Ganga. During the trip, she meets a sage, who hands over an ancient relic to her and dies under mysterious circumstances. Though Anu is instructed to give it to a temple priest in a village, she is reluctant to take the initiative. What connects her to the relic, an ancient temple and the fifth veda?

Julio, the son of a single parent Susan Miranda, requests his mother to adopt an infant who’s left stranded on the streets. Braving past several financial challenges, Susain raises Julio and Regalo, who are extremely fond of one another. As adults, they hope to make a career in football. However, when a personal setback tests their equation, Regalo has a tough choice to make.

With Indrajith no longer around and Ravan drowning in sadness, Ahiravan wreaks havoc on the Lankan dynasty. Hanuman is surprised to realise he has a son – Makardhwaja, who opposes him initially but makes amends later. He also finds unexpected support from Ravan’s former aide Harshasringa in his quest to free Ram and Laxman from Ahiravan. Who has the last laugh?

Shailee and Saumya are twin sisters who lose their mom early in life. Ever since, they don’t get on well with one another and Shailee is soon shifted to a boarding school. Many years later, Saumya falls for Dhruv, an adventure sports enthusiast and son of a politician. Shailee, unexpectedly, returns to her home town and tries to be the party pooper in their relationship. Where’s the tale headed?

After his tryst with hell for many years, Jung Jinsu, the brain behind the New Truth, is back and recognises the growing prominence of the Arrowhead in the society. Jinsu realises he may not be the only one to be resurrected back to the land of the living. Does resurrection eventually mean damnation or will it pave the path to true salvation?

A lot of the splendour in Sean Baker’s Anora lies in its treatment – where we might be shown one thing, but deliberately made to feel something else. For example, the film opens with a discomfiting panning shot featuring barely-clothed exotic dancers performing with neon lights around them. However, Baker scores this scene with a loud, winsome techno song taking what is a distressing visual of young women forced to work a job that fetishises them, and drains the self-pity out of it.