Shubhra Gupta

Two love stories spanning two eras is a running theme in Imtiaz Ali’s filmography. His latest, ‘Main Vaapas Aaunga’, a pre-Partition for ever-and-ever romance, juxtaposed against a commitment-phobic present-day couple—in which the girl and guy are doing the back-and-forth chancy-dancy thing, is also in the same zone. It also re-unites him with Diljit Dosanjh, the lead actor of their previous collaboration, Chamkila. Co-written by Ali and Nayanika Mahtani, the film opens with the Chandigarh-based 95-year old Ishar Singh Grewal (Naseeruddin Shah) desperate to get to Sargodha. His faculties are slipping, and he has no realisation that the town lies across the border, created in 1947 to carve India and Pakistan out of the subcontinent, leading to wholesale carnage and bloodshed.

Can you really, truly ruin a perfectly interesting ensemble and the kernel of an idea that could have blown up into a fully feminist fun film, by not knowing quite how to build on it? Maa Behen, bearing a title which cheekily wants to subvert that familiar invective prevalent in much of North India, in whose fictional town this film is set, gets lost in flabby, confused writing. And yet again, you wonder how films which squander their potential, and a great cast — apart from Madhuri Dixit-Tripti Dimri-Dharna Durga, this has the terrific Geetanjali Kulkarni and Shardul Bhardwaj among others — keep rolling out. Ma Rekha (Madhuri Dixit) with her two wildly different daughters, Jaya (Tripti Dimri) and Sushma (Dharna Durga), is the fulcrum, around which revolve patriarchal fathers-in-law who can’t make tea for themselves, entitled brothers-in-law who demand fresh rotis hot off the tawa, careless husbands (Shardul Bharadwaj) who double up as flirtatious jeejas flirting with uncaring saalis, and sundry other men who are either clueless or indifferent.

Decades before the phrase became a sarkaari slogan, a world class product became a shining example of the dictum, Made In India. India’s first Quartz watch, Titan by the Tatas, proudly manufactured in India, for Indians, by Indians, was launched back in the late 80s. The timepiece that took on the entrenched might of old favourite HMT, and the ingrained habit of winding a knob, took its time getting there. Incorporating the setbacks and breakthroughs, it is a fascinating story of individual passion and solid teamwork, backed by the goodwill of one of India’s most powerful business houses. Under the charismatic-yet-mercurial leadership of the legendary Xerxes Desai, whose mentor was JRD himself, ‘The Titan Story’, based on Vinay Kamath’s book as an inside-look, is a saga which elicits multiple feelings: the confidence in an on-the-rise India, based on high-quality technology and best ethical practices, the demands of successful entrepreneurship, the power of an idea, the people who remained steadfast to their purpose, all wrapped up in popular Bollywood songs-driven nostalgia.

Under its deceptively calm surface, there’s a lot going on in Tribeny Rai’s assured debut Shape of Momo. Based on Rai’s own experiences, the film assimilates several themes– the search for self, the definition of home, gender roles, family ties– in a film which has the courage to back a lead character who refuses to confirm, or to be likeable. While the other themes are familiar, the creation of Bishnu– stubborn and soft at the same time– breaks free from the good-girl trap that most female characters find themselves confined in, in our mainstream cinema. Only recently have we had characters (Varsha Bharath’s ‘Bad Girl’) that have broken free, and in turn, allowed the films to chart unexplored territories.

he 80s in NYC was a scene, man. If you’re of a certain vintage, you may have actually heard this line — from the know-it-all seniors when you arrived in any liberal arts college in Delhi University as a newbie, those exalted beings who smoked Charminars and wore drainpipe jeans and floppy hair and big Beatles glasses who were, in hindsight, probably spouting received wisdom. There are no such gaps between perception and knowing in Ira Sachs’ marvellous re-creation of that very specific Reagan era in ‘The Man I Love’, which brings alive the sights and sounds of the city with the kind of pulsating energy that can come only from someone who has lived through it.

When a bunch of kids are greeted by a school principal saying jovially, no Draculas here, you are meant to surmise a few things. That the children have a connection with Romania, and that this remote Norwegian town with a fjord on one side and mountains on the other, is a new experience for them. Turns out that The Gheorghiu family, with a Romanian father and Norwegian mother, and their five children — two teenagers, two younger ones, and the fifth, a babe in arms, have relocated from Romania and come to live in Norway. Mihai (Sebastian Stan) is an IT expert, and Lisbet (Renate Reinsve) who works in medicine are here for fresh prospects and fresh air, both of which seems to be in ample supply in this snowy, windy place, which turns out to be not as welcoming, leaving the new entrants facing an uncertain future.

To say that Ryusuke Hamaguchi’s ‘All Of A Sudden’ (Cannes competition) is a long film – it weighs in at a solid 3.15 hours – is stating the obvious. The Japanese auteur doesn’t do sudden – the title is a nice little touch of unintentional irony; a leisurely unfolding of events is much more his thing. In fact, he doesn’t do events either; capturing moments like no one’s looking is more like it. Here, his deeply observant style suits the central thrust of the film, which is mainly set in a home for the elderly, where the big themes accompanying end-of-life scenarios are a natural outcome.

There cannot be anything more timely than the premise of Hirokazu Koreeda’s Cannes Competition entry, ‘Sheep In The Box’, which deals with the evolving nature of grief in the age of AI: a couple who’ve lost their young son bring home a humanoid android, who looks and sounds exactly like their boy. It is when Kakeru ( Rimu Kuwaki) begins to show signs of thinking like their son that Otone ( Ayase Haruka) and Kensuke ( Daigo Yamamoto) start wondering about the larger implications of their actions. The question- does a machine have a soul– has been at the heart of such discussions for a long time.