Member Reviews

Avee Sharma, a sexologist, is traumatised after breaking up with Shruti at the cusp of marriage. While he gradually comes to terms with it, he indulges in a no-strings-attached relationship with a patient – a married woman Rekha. Later, he falls for a neighbour Nikita. However, she hides a secret from her life that could derail their equation. Meanwhile, Rajat, a psychologist, opens him to a new perspective towards love.

Amar, who’s yet to come out as gay to his family, is off to London to meet his uncle. Over a flight, he falls in love with a flamboyant Prem. Despite initial friction, the two are inseparable and hit it off as a couple. As Amar returns to India, his conservative family is desperate to get him married. Prem decides to surprise him at the event and when they make their relationship official, all hell breaks loose.

Nine years after SS Rajamouli’s Baahubali – The Beginning left viewers curious about why Kattappa killed Baahubali, a spate of films have been mounted ambitiously, with scope for sequels. This has turned out to be a double-edged sword. While filmmakers get the scope to present in-depth character delineations and build the world in which the story unfolds, there has also been a tendency to overstretch the narrative. A few questions are left unanswered, with the hope that the audience will wait in anticipation of a sequel.

अरविंद और मधु अपनी शादी की 35वीं सालगिरह मनाने विदेश जा रहे हैं। अचानक मधु बीमार होकर वेंटिलेटर पर पहुंच जाती है। अरविंद जैसे-तैसे कर के अस्पताल के लाखों रुपए का बिल भर रहा है। लेकिन मधु के बचने की अब किसी को उम्मीद नहीं है, खुद इनके बेटे को भी नहीं। हर कोई चाहता है कि अरविंद उस फॉर्म पर सिग्नेचर कर दे जिसके बाद मधु का वेंटिलेटर हटा दिया जाएगा। लेकिन अरविंद का सवाल है कि मधु के मरने-न मरने का फैसला मैं क्यों लूं? कुछ अलग-सी कहानी है ‘द सिग्नेचर’ (The Signature) की, संजीदा किस्म की। इस कहानी को लेखक गजेंद्र अहीरे ने फैलाया भी बहुत संजीदगी के साथ है। गजेंद्र के निर्देशन में भी उतनी ही संजीदगी दिखाई देती है। दरअसल यह 2013 में आई गजेंद्र की ही मराठी फिल्म ‘अनुमति’ का हिन्दी रीमेक है जिसमें विक्रम गोखले ने मुख्य भूमिका निभा कर सर्वश्रेष्ठ अभिनेता का राष्ट्रीय पुरस्कार पाया था। अब इस हिन्दी फिल्म में उसी भूमिका को अनुपम खेर ने निभाया है।

Unsettling, isn’t it? Our most reliable source of information and communication can be programmed to keep tabs on our mind and movement across the multiple devices that have become indispensable crutches of modern living. But then the Internet has always been a seductive, if not secure, space where all its gifts come with its share of dangers.

There’s one significant challenge to making ‘screen-life films’ (films that unfold almost entirely on digital screens). Once you commit to its visual grammar, you’re tied to them till there’s a good reason to break out of it. No matter what, all your exposition needs to happen on the small screen, key plot points need to be hashed out during video calls, and the filmmakers need to keep imagining newer screens – ranging from iPad, mobile phones, CCTVs, GoPros, webcams, paparazzi lenses, TV screens etc.

Well into CTRL, we know the film’s protagonist only as Nella. While it’s certainly an Ananya Panday character name (past ones have been Tia, Tanya, Ahana and Bella), I did wonder if it was given by her Delhi Punjabi parents. But then we hear her father’s voice from offscreen calling: “Nalini”. And a little piece clicked into place: an assumed name, a username, a handle, in a film about unstable online identities.