The world of cinema is changing very fast and the methods of watching movies In the year 2013, there were four filmmakers on the 100th anniversary of Indian cinema.
Together they created a movie called ‘Bombay Talkies’ which unfolded many bright colored layers of Indian society on the pretext of giving a tribute to our cinema. His common connection to the four stories was from the cinematic world, or to say that he had a connection to some kind from the craving of Indian society. They were films on Nostalgia. Somewhere bitterness, somewhere bhadasapan too. But there was also an attempt to save the exemption.
Five years later, the same four filmmakers are back together. A rebel of a world of cinema, a stoic assertive woman in the other men’s world, the third inspirational left and the fourth insider of the industry. But this time, both the cinema and the cinema are missing from their cinema inside and outside the story.
The change is that in the last few years, large American streaming services like Amazon and Netflix have stepped into the market of Indian cinema. According to FICCI’s annual report, India is going to be the second largest digital consumer market in the world by 2020, riding on cheap data plans and smartphone hand chips.
The experience of watching movies is changing from the end. The communal expression behind him is missing. Cinema is limited to the screen of our laptops and smartphones. Pauses’ button is also bringing consciousness towards cinematic nuances and leaving the story incomplete and never returning to the audience. There is also patience, restlessness
Anurag Kashyap, Zoya Akhtar, Dibakar Banerjee and Karan Johar’s ‘Last Stories’ was released this week on Netflix. The presence of lust in it does not exceed any by-product. Basically these are the stories of loneliness in relationships and the power games that are being played continuously in these stories from lust to love and then again lust.
‘Roll reversal and nostalgia’
Sanjay Kapoor and Land Pednekar have acted in ‘Last Stories’
Anurag Kashyap’s film, which starts on Nostalgic mode, immediately misses this quartet’s previous movie ‘Bombay Talkies’. And even more so, many years ago, Anurag’s ‘Mumbai Cutting’ short film ‘Pramod Bhai 23’, probably made by Anurag’s most amazing movie.
The film shakes the fundamental non-equality of gender and gender in our society by putting the combination of age and teacher-student into the opposite combination. Teacher Kalindi does not even leave his ‘role of teaching’ in love, even in lust. Seeing the books kept in the lover’s shelf, he judges. There is jealousy, insecurity too, but repeatedly says, ‘Look, you do not fall in love with me!’ But in the end, it is a bit frustrating to see this story confined to the use of ‘roll-reversal’.
But the most prominent part of this film is its non-cinematic excerpt, where the heroine Kallindhi is talking directly to the camera with one-to-one talks. In all these things, on the confusing definitions of love, there are stories from ‘Ian Rand’ to Amrita and Imroz, the author of the cult follow-up novel ‘Fountainhead’. In these cases, there is another unseen character, ‘Mihir’, the person who has less thought is more visible.
Instead of ‘what is’, standing on the margin of ‘how should’. Naturally, Radheika Apte has performed these fragments with the naturally, that is amazing. The film also gives co-credits in the script and dialogue, and it is possible that there may be some self-improvisation. But in this monologue, the follower of Kashyap Kult will also find his share a lot. This is the most fun part of the story of this clash-clash.
‘Do not get salvation alone’
In the center of this story, the forest of a metropolis is a house of BHK. This is the story of the whole story and the story comes out from this house in the final scene. If this house is assumed to be agricultural land, then domestic maid Sudha is the only farmer to bear this farm. But he is a landless laborer and as always, the owner of the land is someone else here too. They have the right over the land. They have the right to harvest. But the farmer’s laborer still dreams of ‘whose share of the land he owns’.
Zoya Akhtar’s film is the strongest pillar of this building. With the miracle of the frenetic cinematic language, he promotes ‘roshanan’ of the life of the satha ‘Sudha’ (land tenant), he is special. The story of the film is in the small house of One BHK house in Mumbai, between the kitchen, the drawing room and the bedroom. But in one of the scenes of the film, you will not see both of the men in the house in this area. Anyway, the house of a man who does not wash his underwear himself will be asked only if he wishes to see them in the kitchen. Father says, “What will the painting be, what is the painting, the house is painted and what is less.”
This is also a battle of ‘space’ of a variety. This film is a sign of a filmmaker, who is now fully convinced on his story and on how to say it. His first film, Luck By Chance, was the most thrilling interference in the mainstream Hindi cinema format, but his commercial failure forced him to push the inevitable compulsions of Hindi cinema popular in the next films. Here Sudha is the microscope, with its ardently visible eyes, we are looking at real irony hidden behind our ‘good ones’.
The author of this confident movie is also a girl, Ruchika Oberoi. Here, while playing the tradition of ‘Dastoor too’, I would also recommend you to see his directorial debut film ‘Island City’, which was released last year and few people saw it. It was also a combination of three different stories like ‘Lost Stories’ and reminded me of Netflix’s famous experimental show ‘Black Mirror’.
Classes, Castes and Zenders, among the falling walls of lust, are still the truths of our middle class society that do not break any ‘digital revolution’. But the most interesting thing is to see in it that where three male filmmakers have heard stories of this powergeme of Kamna from Gender’s Angle, the only female director in the quartet brings the angle of the class (even if the cast is also read) in their story. The finger on this empirical truth of the movement is that the Gender wars in India are not fought in vacuum. As the gesture says, ‘liberation alone does not get’
‘Sonu and Titu’s Mid-Life Crisis’
If I say that I remember the superhit of the year and the most ‘In Your Face’ movie, Sonu and Titu, while watching the triangular love story of Dibakar’s untold nuances, would it be considered blasphemy? Unknowingly, the protesting film of ‘Brow-code’ in Punjabi has placed the authentic picture of the North Indian man in front of us, who will fight for the good of the world to save friendship, but the girl can be a friend, as if any training given to him. Has not gone. And whether this comparison looks extreme, but Dipakar’s Sudhir and Salman are actually Sonu and Titu standing on mid-life crises.
But this film is not about them, ‘sweetie’. Reena, whose best role was played here by Manisha Koirala
It is a journey of Reena, which begins with the gilt produced by betraying her own husband. Husband, who is also to be the wife of a wife and who also needs a mother in the wife Husband, who is worried about how he will save his best friendship. But when he was a friend in the wife, he never knew when he lost it. Dibakar’s movie does not go anywhere in flashback. Maybe the short format does not allow it. Or perhaps it is a selection from which the viewer can create a prequel of his own piece. But Motif of this story is probably hidden in the same old-college prequel. This film is open to the end interpretations. But I believe that Rina’s eyes would not have been lost in her husband’s appearance. One day, he will surely go ahead with a ‘Jai-Viru’ friendship. Or maybe it has increased. A cool day
‘There will be moon next to one, breads next to me’
There are several parallel lines in the story of Rina and Sudha from beginning to end. Both are involved in an intense non-existent relationship at the beginning of the story. Both are full of ambitions. Gilt is far more in Rina, which probably stems from being within her class and marriage institution. Sudha is free from this gilt, probably because of her class identity, but she has tied herself with ‘everyday’ within the wall of a house which is not hers. But she wants somewhere in her mind that she is her. And then in the story of both of them suddenly a moment comes where they are free from this self-bonded bondage, or say deception.
In the story of Reena, she has to listen to her husband on the phone ‘Branch Manager, MG Road’. Your identity which was lost in the circle of someone else’s trophy. And for Sudha, this moment brings a surprise visit to the neighboring maid outside the elevator at the end of the story. Here in the role of two moments, Rasika Duggal has done a miracle. This is the first scene where the story is out of the house.
Rafu c lives and the Sudhadas return to reality in the middle of the goose-hearted Kadaiyanis. Or perhaps for the first time, that house of the ‘threshold of civilization’ is understood to be the real reality of the house. Of all the houses of that type and of those who live in them. As the poet Viren Dangwal writes in his poem titled ‘P. Usha’
“Got eaten up
Does the sound of a sudden swap?
Nothing to worry about
Those who believe that the jaw was civilized
The most dangerous food people are. ”
In the last scene, the elevator is going back down to Sudha. But Sudha is satisfied. He has withdrawn the denial that he had refused to eat the sweet sweets. I remember the name of ‘Dhobi Ghat’. Another female director’s drawn character And miss her smile. In the final scene, after smashing Arun’s chit after running a luxury car behind Shay, he smiles. The same smile on Sudha’s face too.
‘Remote will have to take it in your hand’
The part of director Karan Johar has been the most exhibitor and most mainstream film of this bouquet. Written by Sumit Saxena in his shock value, this is the most honest of the short film format and the most cliche and general at the cinematic level.
This story is also the most discussed scene of the whole film. But for me, the movie’s miracle of the movie is not at the moment which is being discussed in the most because there, in both real and symbolic forms, the ‘remote’ is finally in someone else’s hands. Anyway, ‘the woman does not know her need’ – it is a misconception of pure men. Actually, the new beginning is in the final scene, where men advance their hands to feed ‘ice cream’ first. The first step is to understand what is special in ‘together’, because now it is to understand it.