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Taandav
IFFI 51, 45: Aavartan is an attempt to showcase kathak in the time of item dances
Renuka, a disciple of Kathak maestro Bhawna Saraswati, begins to add a new dimension to the dance form she inherited from her. This puts Bhawna in a state of insecurity and identity crisis. Not knowing how to deal with her emotional self, she starts dejecting Renuka, making it painful for Renuka.
Renowned Kathak Dancer Padma Shri Shovana Narayan has played the role of Bhawna Saraswati in the film Aavartan, whic...
A maker with a penchant for addressing social and sociological malaises tries his hand at the intra-nation village/small town to big city trans-migration issue in India, as seen through three different angles, by inhabitants of a Mumbai chawl (shanty/slum). Though Bhonsle is largely realistic cinema, Devashish Makhija, nevertheless, bends his treatment occasionally, to use tropes to move the story forward. The result is an above average film that has enough merit to be watchable on its own, bu...
Ajji, Review: Gran finalé
Enough of laurels for acclaimed shorts like Taandav, Aglee Baar, Absent, and the largely unknown feature, Oonga. It was time for Devashish Makhija to push the limits hard, and make a shocker that would provoke the critics into hot debate, and leave the masses, if and as and when they get to see it, cringing and stunned.
In Ajji (Granny/Marathi title, though the film is in Hindi), as in most films that emanate from and belong to a genre, content dictates form....
Siraj Syed’s IFFI 2016 diary VIII, Open Forum IV: Courses for horses or horses for courses?
Both, really. We are in the age of customised platforms for film viewing finding best-match, multiple-matches and staggered exhibition alternatives for films. A magnum opus like Bahubali (Indian mythological blockbuster franchise) needs a massive, four-digit spanning simultaneous, theatrical release while a Lunch Box (the mouse that roared a couple of years ago), though critically raved, would be...
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