‘Trijya’ shapes itself into a study of inter-connectedness and what becomes of sensitive people cornered by the chaotic order of the world.
About The Author
Sakshi is a sub-editor at the Outlook Entertainment Desk. She’s also a documentary filmmaker and mixed-media artist based in Mumbai.
As Kumbalangi Nights marks seven years today, one is reminded of how its quiet canals, emerald stretches and lived-in community form a striking terrain to explore masculinity in its most unvarnished form.
- Gandhi Talks Review | Belekar’s Poetry In Motion Explores The Quietude Of Mumbai, Morality And Money
When the common man and separatist powers constantly distort the idea of being Indian, does the Gandhian note still retain a spine of its own?
While Tumbbad (2018) confines its generational curse to a haveli or ancestral home, here the “cursed space” is a crumbling film studio where the entire story unfolds. The film stages a cat-and-mouse duel of intellects within these decaying walls.
What makes the film striking is the imaginative terrain it gives anger to occupy. Female rage is not contained here. It mutates into spectacle, texture and motion.
At the heart of this film lies a simple question: Are you willing to confront the hurt before embracing healing?
Mehra’s film holds power accountable and reminds viewers even today that loving one’s country does not require loving one’s government or blindly endorsing its actions.
Border 2 does not redefine war cinema as its predecessor once did. It attempts to capture its nostalgia without reshaping its ethos.
In a sea of testosterone-fuelled, hyper-nationalistic spy films, ‘Happy Patel: Khatarnak Jasoos’ feels like a breath of fresh air. It’s an unapologetic film that commits to its silliness.
The crime genre operates as a guilty pleasure but also as a cultural symptom, revealing the conditions that make such stories feel necessary and persistently resonant.
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