Court (2014)

Directed by: Chaitanya Tamhane
Country: India

Movie Review: It’s quite impressive how “Court”, a befitting satire on today’s Indian judicial system, has been collecting prizes all over the festivals it participates. Venice, Viennale, Mumbai, Singapore and Hong Kong are only some of them, which recognized the subtle but well-outlined assessment behind the first work of filmmaker Chaitanya Tamhane. The film is a long, cogitative and well-observed exercise centered in an absurd case of prejudice and bureaucracy involving the multiple arrests of the people’s folk singer and poet, Narayan Kamble. Accused of inciting a sewage worker to commit suicide, the fragile singer has no other option than relying on his dedicated lawyer who will have a female public prosecutor as a fierce (and often irritating) opponent. There’s also a somewhat superficial look at the family lives of the ones involved in the case, meaning the two lawyers and the judge, but curiously not the dauntless Kamble who turns out inflammable with a microphone but is becoming weary of the harassments he’s subjected to. This is a courtroom tragicomedy with so many good things – vivid imagery, admirable performances, a strong representation of Indian social status, and witty dialogues; however, on the other hand, it shows some difficulties flowing, especially when the camera lingers too much time on other small court cases, which aim to reinforce the stupidity of the legal system in cause, but deflects the story from its central point. Therefore, some editing would be valuable here. Mr. Tamhane has opted for a formal execution, which sometimes counterpoints with the confrontational jokes that are caustically being thrown in the air. “Court” is worth seeing for its pungent examination and clever observations.

The Lunchbox (2013)

Directed by: Ritesh Batra
Country: India

Movie Review: “The Lunchbox” is a generous drama about life and its problems, presented in a light and sporadically funny atmosphere of a long-distance romance, and marking a promising debut by Ritesh Batra on direction. Ila is going through a big crisis in her marriage, passing her days alone and only speaking through the window, to an elderly aunt who lives right above her flat. Every day she makes a lunchbox that a carrier was supposed to deliver at her husband’s office, but instead he was delivering at a wrong address and the beneficiary was Saajan, a solitary and taciturn widower who is about to retire and lives unhappy since his wife died. Both of them start a strange correspondence by letter (hidden inside the lunchbox) where they speak about their lives and concerns, making them better tolerate the difficult situations they were going through – she didn’t feel so lonely and anguished, while he became more cheerful and open at work, helping his future substitute, Sheikh, a friendly and smiling orphan who turned out to be his friend. I took some time to really enter in this letter game, but the more the film moved forward, the more I got involved, becoming curious about what these two common and grieving souls had to say. Even though, I expected some more from “The Lunchbox”, which being unable to utterly enchant or shake my emotions in its plenitude, certainly did it with my stomach, every time I imagined the smell and taste of Indian food. Simple, warm, and direct, it leaves us with an open ending and provides us with a few pensive reflections on life.

Hit The Road: India (2013)

Directed by: Gor and Mushegh Baghdasaryan
Country: India / Armenia

Movie Review: In this travel documentary, directed by Armenian brothers Baghdasaryan, Richard Gazarian and Keith King arrive in India to make a 12-day trip rickshaw rally from Mumbai to Chennai. They will compete against other five teams, crossing 2000 km without any maps or GPS. Along the trip they will have to face adverse weather conditions and beat their increasing exhaustion, as days go by. The not infrequent mechanical problems that take a lot of time to be fixed, dangerous roads, intense traffic, lack of visibility, and the constant stress and tension that participants are subjected to, could very well have made this documentary more appealing that it was. As a viewer, I didn’t feel any real sense of danger, and all the excitement or frustration coming from the participants never reached me in a satisfying way. That’s why I didn’t feel involved and for me the experience of following this adventure had its enjoyable moments but was far from being completely rewarding. Some nice images of a unique country as India were presented at the sound of a great alternative rock score (despite the sound leveling issues detected), maybe the same music the men listened in their wireless music system mounted in the rickshaw. They also had time to visit a school and stop by a McDonalds where, unfortunately, no juicy cheeseburgers were being sold. Salutary sportsmanship was observable in a grueling trip that required more intense incidents to achieve higher relevance.

Sandcastle (2012)

Directed by: Shomshuklla Das
Country: India

Movie Review: “Sandcastle” is the first film written and directed by Shomshuklla Das (also poet and singer), resulting in a personal vision about the role of women in Indian society. The film starts to introduce us Sheila (Shahana Chatterjee), a successful writer, exposing her thoughts by a long monologue about freedom and how to find the ideal man. That's when Maya (Malvika Jethwani), created from Sheila’s imagination, gained life of her own. In the next scenes we understand that Sheila is disappointed with her marriage; she starts taking advices from her brother, the fictitious Maya, and also from her real friend and publisher, Koushik. With constant social pressures, what will Sheila decide to do about her private life and work, which is always under judgment? Despite the valid idea, the film gives the answers to this question in a disjointed way, using long, dense, and unsatisfactory dialogues that made me disconnect completely from the characters. This aspect was reinforced by the constant changing of chapters (in a total of 20), breaking down the flow of happenings. Repeated close-ups of feet, food, and hands, were used in an attempt to approximate viewer and protagonists, but this tactic only distracted me from the central point of the debates. With theatrical tones and an almost amateurish style, “Sandcastle” weighs tradition and emotion without a favorable outcome, losing itself in spiritual and literary considerations that were never exciting or even inspired.