Member Reviews

बॉलीवुड की फिल्मों में मुंबई को हमेशा खूब रोमांटिसाइज किया गया है। मसलन, बड़ी-बड़ी इमारतें, बाहें खोले समंदर, चकाचौंध भरी जिंदगी, प्यार का अहसास दिलाती बारिश, लेकिन इस सारी चमक-दमक के बीच यहां बहुत से ऐसे लोग हैं, जो अपने हिस्से की रोशनी के लिए रोज संघर्ष करते हैं। जो यहां की तमाम भीड़ में भी अकेले हैं। ये वो हैं, जो रोज उठते हैं, काम पर जाते हैं और लौटकर आ जाते हैं। इनकी जिंदगी इस भागते शहर में भी ठहरी हुई है। पायल कपाड़िया की कान फिल्म फेस्टिवल में प्रतिष्ठित ‘ग्रां प्री अवॉर्ड’ जीतकर इतिहास रचने वाली फिल्म ‘ऑल वी इमेजिन एज लाइट’ रंगीनियत से परे वाली इसी स्याह मुंबई के नाम प्रेम गीत है।

There’s a Bengaluru that has slowly been invisibilised in pop culture. It’s almost like they’d like you to believe India’s Silicon Valley is all about skyscrapers and pubs, people with laptops waltzing into swanky hotels and coffee shops, and health-conscious folks ordering flour from chakkis. But, there’s another Bengaluru, the one that was once the mainstream and is now the outlier — made up of locals and migrant workforce, all of whom fall under the broad category of the middle class — whose members walk hesitantly into star hotels, drink happily in open-to-the-sky bars, who stand in a queue to grind flour in a machine, and who struggle to pay their loans on time, every single month. The kind of people who wear unbranded inner garments and smell of sweat, as a character in Maryade Prashne says. The only thing they have for themselves is maryade or self-respect. What does one do when that is questioned? When intent is rubbished? That’s what Nagaraj Somayaji’s taut two-hour-long Maryade Prashne is all about.

An underdog dance group making something of itself: right from the opening frame of Waack Girls, you know that this will be the trajectory of this rag-tag bunch, based in Kolkata. But this Sooni Taraporevala-created-and-directed nine part series attempts to build in differentials. First off, Kolkata is still not a city you’d think of when it comes to street style dancing and underground meetings where dance-offs occur. A lovely Cal feeling is captured in a crumbling old mansion, in a tony club, in the corner puchka-wala, and in the accents people use. You do see some familiar structures on the skyline, like the Howrah Bridge, but they are just there, no emphasis laid. That is refreshing.

Going into ‘I Want To Talk’, I had no idea that that the character Abhishek Bachchan plays is based on an actual person called Arjun Sen. That knowledge would have added a certain layer to the story of a man who bests certain death- a diagnosis of laryngeal cancer and the consequent grim prognosis of a limited future—and is still around on planet earth. A valid question arises, after you’re done: anyone surviving 19-20 tough surgeries, and finding the energy to bring up a daughter, and run a marathon, is worthy of respect, but is that enough to engage us for two hours? Director Shoojit Sircar has an affinity for characters dealing with life-and-death situations, set in the innards of hospitals (October), as well as exploring filial connections (Piku). Both themes are here, but the depth and emotion which elevate his plots surface only occasionally.

On Nayanthara’s 40th birthday, Netflix unveiled a documentary series, Nayanthara: Beyond the Fairy Tale, chronicling her journey in the film industry. The series opens with her disappointment over not securing permission to hold her dream wedding at the Tirupati temple and transitions to her eventual wedding at a picturesque beachside glasshouse, attended by the who’s who of Indian cinema.

Once a purveyor of Bollywood entertainment, director Nikkhil Advani of late is exploring drama surrounding real, epochal events – life-altering situations where the decisions are not made based on right and wrong, but on the pretext of consequences. A slippery ground to navigate, he got it right in Mumbai Diaries set against 26/11 terror attacks in the metropolis and doesn’t disappoint in Freedom At Midnight either.

A few years ago, there was an uproar over a scene of sustained violence in director Kathryn Bigelow’s Detroit, a period crime drama about a real-life incident that led to the deaths of three young men. The controversial scene unfolded across several uncomfortable minutes, and showed a group of white police officers beat down a lineup of innocent Black men. Bigelow didn’t avert her eyes from the horror, and instead, caught the audience by the scruff of the neck and made them watch. The film’s examination of ingrained racism, police brutality, and the systemic oppression of minorities drew parallels to modern-day America, but it also divided audiences. Director Sandhya Suri’s Santosh, which was screened at the recent Dharamshala International Film Festival, unpacks similar themes, but in the context of contemporary north India. Like Detroit, it pivots on a scene of unrelenting brutality that transforms it from a standard police procedural into something more haunting.

Based on the novels of Hugh Howey, the world of Silo easily captivated sci-fi fans when it first premiered in May 2023. The dystopian drama is set in a future where thousands of people have isolated themselves in a giant underground silo to protect themselves from the outside. But what exactly is outside? The gripping new season, led by Rebecca Ferguson, finally takes us beyond the silo we’ve known for the first season.

One of the most painful and fraught chapters of India’s history is brought to life in the SonyLIV series Freedom at Midnight, created by Nikkhil Advani. With a large ensemble cast of Indian and foreign actors, the series moves forwards and backwards in time to depict what went through the minds of India’s political leaders as they bargained and argued with the British empire for their freedom. Through the seven episodes, the threat of partition looms large, and the tense finale brings with it a melancholic feeling that lingers.

The first season of Bad Sisters was adapted from the Belgian show Clan, which only ran for one season. The second season, which begins on November 13, takes the story of five close-knit sisters in a whole new direction. Set in Dublin, writer and actress Sharon Hogan brings the black comedy and forges the show ahead in a surprising and moving direction. Bad Sisters retains the shocking surprises, awkward moments, and dark humour that the first season was known for.