Teen Aur Aadha

I like to move it move it. When I am tired, I Still like to move it move it

Weak dialogues, trying to come off as smart but are lazy in actuality. The 2nd story was decent enough but the overall film drips pretence. Verbose, cardboard characters and telegram delivery.

Viewed at Kerala IFF December 2017. Teen aur Aadhya" (Three and a Half) written and directed by Daria Gai a Ukrainian resident of India for several years, and produced by Anurag Kashyap, aroused lively curiosity and discussions throughout the festival week. This is a story in three parts set in the same house at different times years apart. The half in question is the house itself which "observes" each little drama taking place within its confines. The first tale is about a young boy and his bedridden grandfather who stages his own death in a most peculiar manner on leap year day. In tale number two the house has become a brothel with a young prostitute who tries to convince her clients that each time is her first time changing her name on each turn. Her main client is impotent except under certain conditions but keeps giving her money. In part three we meet an elderly couple, who may or may not be people we have encountered earlier. They lie around in bed touching and kissing tenderly while arguing and musing over their long gone sex drive and former passions. submit What makes the film work in a special manner is the fact that each story is shot in a single take with no cuts as the action sweeps around the motionless walls. Various people relate to the three stories in various ways which is precisely what makes it so interesting. I liked them all but liked part three best. Judy Gladstone, a festival delegate from Canada and an astute film observer from Canada, remarked that this experimental debut feature is the work of a true talent. "The the next film by director Dargai will be a masterpiece". I tend to agree.

This film has some decent moments. The actors live and breathe in the moment, which is really good to see; the actors and the directing of actors deserves recognition. In terms of writing, all three stories felt as though they could have been more pointed and condensed. The cinematography is ambitious, but there is certainly an overuse of planned sequence shots. Why is this story being told in three long takes? At points, it seems as though that we are watching a taped theatrical play; the camera lingers and finds itself floating in places that don't really aid the storytelling. Production design and choice of the color palette deserves some credit.

Overall, the director is able to shape strong performances, but the script gets tedious and there needs to be more discipline with shot design. Good effort.

All the varied emotions that rule a life are portrayed in the three stories that take the viewer through the three stages of life-childhood, youth and old age. Escape( from school which bores the child) & wait (for death to escape the misery of an invalid body)binds the two characters in the first story "Yamaraj". The second story "Natraj" is the fulfilment of youth that escapes the young man visiting a prostitute beautifully played by Zoya Hussain. The third, "Kamraj" is but reminiscences of an aged couple who have missed a thing or two about each other but have not missed to love each other that has by now transcended physical needs. The three stories are held together by the building that undergoes transformation (like life that plays out in it's bounds) from a school to brothel to a lovely home. The walls like the camera are witness to the drama of life. The film is shot in three long takes only but holds together. This work by the Ukrainian director Dar(ia) Gai makes one await her next. A trivia; the clock works anti-clockwise in the second episode. Unfortunately, the sub-titles are missing in many scenes especially in the last story when you need to concentrate on the dialogue.