vineeta-pillai
dic 2012 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
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Clasificación de vineeta-pillai
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#womensupportingwomen
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#MustWatch
Interestingly, the reviews of the film by leading dailies prove the very point that the film attempts to make... about the invisibility of women, and their lack of agency .
Here it is .. The TOI says it's a story of two husbands who lose their wives, Filmibeat also called it a story of two young husbands, Business Standard calls it the story of a husband who loses his wife , ABP Live comments on the laughter it evokes, The Indian Express says "it is struggling to stay afloat" ( so not true 😃) .
Only a handful got it right ! Filmfare, The Hindu, and a few others.
And this is the very premise of the film.
Based on an award winning story written by Biplab Goswami, Kiran Rao returns to direction after 14 years with this delightfully thought provoking social commentary on women's empowerment . And wow, does she deliver !
The story is set in a fictitious village in a state called Nirmal Pradesh, reflective of any state in the cow belt of India. It revolves around Phool, and Jaya two women who are on their way to their new marital homes, and due to identical veils, Phool's husband mistakenly brings Jaya home, instead of Phool.
Phool realised late at the last stop that she has been deserted, and Jaya knowingly accompanies the wrong husband to his home. When both husbands realise that one's wife is "wrong" and the others wife is missing, starts the journey of finding them and returning them to their rightful homes . Phool is a shy, simple village girl, with no exposure to the world at large, and does not know either the address of her village or the address of her husband's home. .
Jaya is a girl who is a brilliant student and top ranked amongst 200 students , but has been forced to marry a man who has reportedly killed off his first wife due to dowry.
Both women experience freedom, a sense of agency , and in the process they find themselves . In 5 days, they undergo a life altering journey of self discovery, and confidence.
The veil of the two brides is metaphoric in nature ... and the Lifting the veils of social ills like patriarchy, education, lack of power, no freedom of choice, apart from the more obvious ills of lack of education, dowry. Very very masterfully, the story starts being told through the eyes of the men ( the husbands , the policeman) and soon shifts gears towards the actual story of the women . If they had not got lost, they would probably never have found their voice, their confidence and their will. Three vital skills needed to live a life of control and happiness .
A special mention needs to be made of the character Manju Maai who runs a tea stall at the station where Phool gets lost. She unexpectedly plays the reluctant catalyst in the transformation of Phool .. and their scenes and dialogues leave you hanging on your each word. Masked, layered and simple all the same time ! She aids Phool to look within and question everything, of why just being obedient and skilled at housework is not "good upbringing" . She is also the person who introduces Phool to the thrill of earning an income, however meagre is might have been.
Women's empowerment is such a loosely used term, seldom portrayed in its real sense at the grassroots level. What does empowerment mean to a woman ? Only a woman can tell ! It's different for each woman, as it's different for Jaya and Phool. But the sisterhood between the two when they come face to face in the end makes you want to stand up and dance and weep with joy!
Nitanshi Goel as Phool, Pratibha Ranta as Jaya , Sparsh Srivastava as Deepak, Chaya Kadam as Manju Maai, Ravi Kishan as the police inspector have given spectacular performances.
But the real Hero is the Story itself and the nuanced and skilful direction by Kiran Rao. Take a bow !! This gem is not to be missed . Films like this come once in a blue moon . Savour every minute every dialogue . It's definitely the breakout film of this year !
Interestingly, the reviews of the film by leading dailies prove the very point that the film attempts to make... about the invisibility of women, and their lack of agency .
Here it is .. The TOI says it's a story of two husbands who lose their wives, Filmibeat also called it a story of two young husbands, Business Standard calls it the story of a husband who loses his wife , ABP Live comments on the laughter it evokes, The Indian Express says "it is struggling to stay afloat" ( so not true 😃) .
Only a handful got it right ! Filmfare, The Hindu, and a few others.
And this is the very premise of the film.
Based on an award winning story written by Biplab Goswami, Kiran Rao returns to direction after 14 years with this delightfully thought provoking social commentary on women's empowerment . And wow, does she deliver !
The story is set in a fictitious village in a state called Nirmal Pradesh, reflective of any state in the cow belt of India. It revolves around Phool, and Jaya two women who are on their way to their new marital homes, and due to identical veils, Phool's husband mistakenly brings Jaya home, instead of Phool.
Phool realised late at the last stop that she has been deserted, and Jaya knowingly accompanies the wrong husband to his home. When both husbands realise that one's wife is "wrong" and the others wife is missing, starts the journey of finding them and returning them to their rightful homes . Phool is a shy, simple village girl, with no exposure to the world at large, and does not know either the address of her village or the address of her husband's home. .
Jaya is a girl who is a brilliant student and top ranked amongst 200 students , but has been forced to marry a man who has reportedly killed off his first wife due to dowry.
Both women experience freedom, a sense of agency , and in the process they find themselves . In 5 days, they undergo a life altering journey of self discovery, and confidence.
The veil of the two brides is metaphoric in nature ... and the Lifting the veils of social ills like patriarchy, education, lack of power, no freedom of choice, apart from the more obvious ills of lack of education, dowry. Very very masterfully, the story starts being told through the eyes of the men ( the husbands , the policeman) and soon shifts gears towards the actual story of the women . If they had not got lost, they would probably never have found their voice, their confidence and their will. Three vital skills needed to live a life of control and happiness .
A special mention needs to be made of the character Manju Maai who runs a tea stall at the station where Phool gets lost. She unexpectedly plays the reluctant catalyst in the transformation of Phool .. and their scenes and dialogues leave you hanging on your each word. Masked, layered and simple all the same time ! She aids Phool to look within and question everything, of why just being obedient and skilled at housework is not "good upbringing" . She is also the person who introduces Phool to the thrill of earning an income, however meagre is might have been.
Women's empowerment is such a loosely used term, seldom portrayed in its real sense at the grassroots level. What does empowerment mean to a woman ? Only a woman can tell ! It's different for each woman, as it's different for Jaya and Phool. But the sisterhood between the two when they come face to face in the end makes you want to stand up and dance and weep with joy!
Nitanshi Goel as Phool, Pratibha Ranta as Jaya , Sparsh Srivastava as Deepak, Chaya Kadam as Manju Maai, Ravi Kishan as the police inspector have given spectacular performances.
But the real Hero is the Story itself and the nuanced and skilful direction by Kiran Rao. Take a bow !! This gem is not to be missed . Films like this come once in a blue moon . Savour every minute every dialogue . It's definitely the breakout film of this year !
Bad, awful, ridiculous!
What were the makers of *Kalank* thinking ? From colour coordinated rioters, to colour coordinated dushehra , from fake giant lotuses , to wooden faces of Alia and Aditya , from a dozen men dressed like blue Ram doing an arial act and about 50 men dressed like monkeys for dushehra to a mujra to celebrate ID! No semblance of history, no semblance of geography , and they even have the weather all wrong . And the locales move from desert to snow capped Himalaya to a Ladakh type place to a horrendous set supposed to look like the bazaars of Lahore . The lead actors sit in a fake car and fake horse carriage where they have zero body movements , and everyone is always colour coordinated.
Varun Dhawan is a man who makes swords for a living in Lahore who suddenly becomes a matador in a gladiator type scene. Yes, the bull is fake too.
Alia is a village belle in Ghaghra choli in one scene who is suddenly wearing shararas after she gets married and is a "highly educated woman " in another scene.
Madhuri sleepwalks in her scenes like she's waiting for the director to say "cut"
Aditya looks like a wooden doll with facial hair and no expressions.
Achint Kaur is a woman who nobody knows who she is but she is the only one who knows what's happening in everyone's lives , alas she is killed.
Sonakshi seems happy to be bumped off midway during the film, at least her character is spared the insanity.
And the Madhuri Alia duet has the same playback singer singing for both ... and Madhuri saying "timhare awaz mein namak ki kami hai"
Varun and Aditya's lakeside scene looks like the ghats of Ujjain or Banaras where the two men discuss how many women they have slept with . Ughhhhh
And the movie ends with the ghosts of Sonakshi and Madhuri miraculously appearing like Banquo's ghost, only these two ghosts wear white designer shararas.
I want to know what the filmmaker Abhishek Varman was smoking during making this film.
#beyondbizarre
What were the makers of *Kalank* thinking ? From colour coordinated rioters, to colour coordinated dushehra , from fake giant lotuses , to wooden faces of Alia and Aditya , from a dozen men dressed like blue Ram doing an arial act and about 50 men dressed like monkeys for dushehra to a mujra to celebrate ID! No semblance of history, no semblance of geography , and they even have the weather all wrong . And the locales move from desert to snow capped Himalaya to a Ladakh type place to a horrendous set supposed to look like the bazaars of Lahore . The lead actors sit in a fake car and fake horse carriage where they have zero body movements , and everyone is always colour coordinated.
Varun Dhawan is a man who makes swords for a living in Lahore who suddenly becomes a matador in a gladiator type scene. Yes, the bull is fake too.
Alia is a village belle in Ghaghra choli in one scene who is suddenly wearing shararas after she gets married and is a "highly educated woman " in another scene.
Madhuri sleepwalks in her scenes like she's waiting for the director to say "cut"
Aditya looks like a wooden doll with facial hair and no expressions.
Achint Kaur is a woman who nobody knows who she is but she is the only one who knows what's happening in everyone's lives , alas she is killed.
Sonakshi seems happy to be bumped off midway during the film, at least her character is spared the insanity.
And the Madhuri Alia duet has the same playback singer singing for both ... and Madhuri saying "timhare awaz mein namak ki kami hai"
Varun and Aditya's lakeside scene looks like the ghats of Ujjain or Banaras where the two men discuss how many women they have slept with . Ughhhhh
And the movie ends with the ghosts of Sonakshi and Madhuri miraculously appearing like Banquo's ghost, only these two ghosts wear white designer shararas.
I want to know what the filmmaker Abhishek Varman was smoking during making this film.
#beyondbizarre