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'Sirat' can be emotionally overwhelming. It is the kind of film that demands time, even a day or two, for one to ascend from its depths fully.
Yen and Ai-Lee is a Taiwanese film exploring themes of abuse, guilt, and emotional healing. The film offers relief through the recognition of characters without judgment, focusing on stillness and subtle emotional release rather than resolution.
The movie explores themes of parental influence and emotional turmoil amidst the backdrop of ideological collapse, offering a unique perspective on history.
Stories about the Holocaust often revisit the same overwhelming memories of cruelty and loss, but Emmanuel Finkiel’s ‘Mariana’s Room’ stands apart because it shrinks this massive tragedy into a very small, very intimate space. Adapted from Aharon Appelfeld’s novel ‘Blooms of Darkness’, the film
Underdog artist stories have a tried-and-tested formula that works because of strong, catalytic ingredients. Such narratives often begin with a struggling artist held back by personal and systemic barriers. Then, it throws in an unsupportive parent, a money-hungry industry rep, and a tough yet
'Kalamkaval,' however, takes an entirely different path. It sheds many familiar thriller tropes— we are aware there is a villain on the loose and even of his identity -- that it sometimes risks slipping into monotony.
At the centre of the story is Police Inspector Stalin, played by Indrajith with his signature calm intensity. Stalin is assigned to investigate the murder of a young man.
Here, sandalwood is not merely contraband. It is inheritance, identity, and, definitely, a living promise of conflict.
A major reason the film works is its setting. Bahul Ramesh’s cinematography practically pulls you into the hills. The frames feel cold, damp, and alive.
However, the sombre short film and the characters, written by V R Sudheesh, feel somewhat distant to the viewer, despite the evocative mood of 'Aaro'.
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