Prosari Chanda

Dolly Kitty aur woh Chamakte Sitaare is all about the moments, the premise even better, the characters who are unfathomably on point; subtle to vulnerable to overtly passionate to not realising what lies next for them. There is a certain liberation when Dolly unlike other days simply takes her away cup of tea (only for herself) to her table and sips on it, or buys a beautiful hairband to gift her son who tries to impersonate his mother before the mirror, and simply wants to be taken to a doll house instead of a rail museum. Kitty is passionate both in love and hate. She is new to a city and perhaps never threaded on the broader avenues ever before. Her conditioning is typically middle class, however the job she's submitted herself in never falls under the diaphragm of societal respect and admiration. Initially intuitive but gradually she raises above her confidence and takes part in her new found independence. Ironically Dolly's new way to live and love take place amidst the graves in a cemetery. Kitty's clandestine Love making scenes are shot in an underconstructed building and a truck cum makeshift DJ consoles making hinting at their own impermeance. The scene with which the film opens is perfectly edgy.. where one fake laughs and pretends not to realize and the other being brightly aware that her brother in law is trying to hit on her - brings out the metaphor or bubbles they are soon going to get wrapped around. Vikrant Massey is his best self as ever, Amol Parashar is definitely the icing on the cake, and Aamir Bashir as a husband is undeniably real. Kubra Sait and Karan Kundra in extended cameos are relatable and likable. Tell me of a character Konkona Sensharma won't do justice to? There really aint any! This be Bhumi Pednekar's best till date. She absolutely knows where to do what and how! The margin of what is consent and what isn't is shown in a subtle yet remarkable way. What I'd conclude from this Alankrita Srivastava narrative is that : we'll be treated inconsequentially until we choose to come out of comcomplacency and assert to ourselves; and stand tall for our roles we choose to play.

Honey Trehan's Raat akeli hai is a well baked whodunit with right amount of thrill, mystery and synchronized unfolding. You will believe their narratives innately, while the other second you'll be bent to question their moral palette. Intolerance towards woman, their emancipation will make you feel wretched, gutted. Writer Smita Singh (also co writer of Sacred Games) has presented a clean slate screenplay. Also aided by a very dependable ensemble cast right from Nawaz, Apte, Tigmanshu Dhulia, Aditya Srivastava to Sweta Tripathy, Ila Arun, Shivani Raghuvanshi, Swanand Kirkire the film was in safe hands right from the beginning. It is quite improbable to determine as to who the murderer could be. In a world bedecked gawdily, it's difficult to place trust upon someone, more so when the surrounding around you is made out of inconsistent people. If you are into thrillers you may as well end up appreciating it.