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Netflix’s Ghost Stories Review: Hit-Or-Miss?

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Netflix's Ghost Stories Review: Hit-Or-Miss?

Name: Ghost Stories
Directors: Anurag Kashyap, Dibakar Banerjee, Karan Johar and Zoya Akhtar
Genre: Indian Anthology Horror Film

Cast:
Zoya Akhtar’s segment-
Janhvi Kapoor as Sameera
Surekha Sikri as Mrs Malik
Vijay Varma as Guddu

Anurag Kashyap’s segment-
Sobhita Dhulipala as Neha
Sagar Arya as Neha’s husband
Zachary Braz as Ansh
Pavail Gulati as Ansh’s father

Dibakar Banerjee’s segment-
Sukant Goel as Visitor
Aditya Shetty as Little Boy
Eva AmeetPardeshi as Little Girl
Gulshan Devaiah as girl’s Daddy

Karan Johar’s segment-
Mrunal Thakur as Ira
Avinash Tiwary as Dhruv
Jyoti Subhash as Dhruv’s Granny

Ghost Stories: Keep or Miss?

Source: Twitter

Review:

After Bombay Talkies (2013) and Lust Stories (2018), the four famous directors; Anurag Kashyap, Dibakar Banerjee, Karan Johar and Zoya Akhtar, have collaborated on another anthology – horror short films. Released on January 1, 2020, the collection named ‘Ghost Stories’ consists of four short film segments. While their earlier movies revolved around cinephilia and lust, this recent release, as the name points out, deals with the horror genre.

The first segment of Akhtar, named ‘Nurse’ was about a nurse named Sameera looking after an elderly patient named Mrs Malik, both of whom have suffered the consequences of familial abandonment. While Sameera waits for her boyfriend Guddu; Mrs Malik, hit by delusions, keeps calling out for Armaan, her son who’s nowhere to be seen or heard. Even though the story ends with a mundane and slightly dumb twist, it has certain details which still make it okay — portraying it as a story of melancholic hope and intuition as well, giving it a slightly more exciting outlook.Nurse

The second story was of Kashyap’s, named ‘Bird’, however, isn’t nearly half as impressive as the one in ‘Lust Stories’ which was probably the best out of the lot. This story revolves around a pregnant woman who babysits her nephew during the day. Might be a coincidence but there are many similarities between the first two stories such as both have the dramatic effect of a ‘failed childhood’, the mirrors featured in important scenes, the frequent use of hallways and many more.

Mr Banerjee’s story ‘Monster’ was the third in the list. To everyone’s surprise, Banerjee’s story was far more symbolic than Kashyap’s. The story starts with an anonymous man (who’s identified as ‘Visitor’ in the end credits) entering a deserted countryside which is known as Bisgarah or Smalltown. This place consists of only two survivors ‘Little Boy’ and ‘Little Girl’ who explain the land’s laws. They told the visitor that the Saugarah or Bigtown people ‘ate the people of the Smalltown’ as a result of which, to survive, the Smalltown people began eating their own. The Little Boy explains: “If you move, you’ll die; if you speak, you’ll die; they don’t eat those who eat.” Monster is an excellent example of layered and symbolic storytelling. Using smart hints, Mr Banerjee continually sustains our interest.

The last story is of Karan Johar’s and is named ‘Granny’. Mr Johar’s story is about a young woman named Ira marrying a rich and prosperous husband, Dhruv, who seems to have an obsession with his (dead) grandmother. As a result, Dhruv needs her permission for everything as well as wishes her goodnight every single night as a daily routine. The housekeepers, too, are in awe of the old lady. This story somewhat seems like Daphne Du Maurier’s ‘Rebecca’ (where there was a dead wife instead of a dead grandmother).

Though each of the stories, were not up to the expectation of a ghost story/ a horror story, each one is different and has a thrilling element with some parts of a scare here and there. Coming to actors and their acting, it’s pretty much basic. The main characters have done a really great job, and there are no complaints or criticism about them. Considering how it is being streamed on Netflix, we can expect standard acting, direction and cinematography. Even though the first story had the suspense and an exciting storyline, it could have been made better. The second story was slightly confusing. However, Dhulipala fully commits to the role of a soon-to-be mom uncertain of her child-rearing faculties. She’s good, and has the support of a strong screenplay. Karan Johar’s imagination, too, is tested while treading unfamiliar territory. However, I would say that Dipankar Banerjee’s was the best one. It had that political aspect about how the people of the big cities are always dictating over the rural people. I think it’s the right way of showing the entire caste system, inequality and other such things through cannibalism.

Navigating unfamiliar territory can be very difficult, especially when you are out to entertain others. Even though this was not such a success, we should be happy that Indian Cinema is trying to create films of new genres which have not been done previously.

NAC’s Overall rating: 2.37/5

I’m an avid reader, painter and writer. Basically I’m the girl with a love for books and an artist with hidden talents. I hope to make a good change in the world through the power of my pen ‘cause as you know ‘A pen is mightier than the sword.’

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‘Dolly Kitty Aur Woh Chamakte Sitare’ Trailer: Konkana And Bhumi Ready To break Stereotypes

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'Dolly Kitty Aur Woh Chamakte Sitare' Trailer: Konkana And Bhum Ready To break Stereotypes

On September 4, 2020, Netflix came out with a movie trailer called “Dolly Kitty Aur Woh Chamakte Sitare” which is a journey of two sisters who basically don’t play by the rules set by society for them and navigate to their own freedom and happiness by making their own rules.

Story of two cousins, Dolly (Konkona Sen Sharma) and Kajal (Bhumi Pednekar) as they navigate their destination with twists and turns set by life for them to find a place in their world.

Directed by Alankrita Shrivastava who has worked with Ekta Kapoor previously in her last film Lipstick Under My Burkha; coming to this movie which showcases Dolly who is a middle-class working woman with a perfect family and her cousin Kajal who comes to the city with dreams and ambitions like any other to make a life.

While sharing the news of the trailer, Konkana mentioned on her social media handle as, ‘Kuch raaste galat nahi, sirf alag hote hain.’

Along with Bhumi and Konkona, Amol Parashar, Kubbra Sait, Vikrant Massey, Karan Kundra and Mushtaq Khan will be seen in the movie, and it is eyeing its release on September 18 only on Netflix as a part of its line-up of 17 new stories. The movie is produced by Balaji Telefilms a.k.a Ekta Kapoor and was premiered at the Busan International Film Festival last year.

Fans are very excited for Dolly Kitty Aur Woh Chamakte Sitare as there is no nepotism crap, breaking the stereotypes theme, Konkona coming back to screen after so long with a very quality star cast and a new story.

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Akshay Kumar Announces New Film: ‘Raksha Bandhan’. Shares First Poster

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Akshay Kumar Announces New Film: 'Raksha Bandhan'. Shares First Poster

On Monday, Akshay Kumar took to his social media and announced his next movie, ‘Raksha Bandhan’, which is directed by Aanand L Rai, who’s upcoming with his two more releases ‘Atrangi Re’ and ‘Haseen Dilruba.’ The movie will be produced by Colour Yellow Production & Cape Of Good Films, the film is written by Himanshu Sharma, who has written movies like Raanjhanaa, Tanu Weds Manu, Zero, Shubh Mangal Zyada Saavdhan.

Akshay took to his Twitter and wrote: “ A story that touches your heart so deeply & so instantly, it’s the quickest I’ve signed a film in my career.” He dedicated this movie to his sister Alka with whom he shares a special bond as a brother.

Movie is likely to be released on November 5, 2021.

Along with Raksha Bandhan, Akshay will also be seen in Atrangi Re alongside Sara Ali Khan & Dhanush, which is also directed by Mr.Rai.

Akshay Kumar, soon will be flying to the United Kingdom, to start the shooting of his next action drama movie ‘Bellbottom’ along with the co-actors of the movie which includes Vaani Kapoor, Huma Qureshi and Lara Dutta.

Apart from these, Akshay has four upcoming movies Laxmmi Bomb, Sooryavanshi, Prithviraj and Bachchan Pandey on its way.

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‘Shakuntala Devi’ Movie Review: A Warm Depiction Of An Extraordinary Woman

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Shakuntala Devi: A Warm Depiction Of An Extraordinary Woman

Warm, emotional, and at times, perhaps a little too sappy, ‘Shakuntala Devi’ is the depiction of an inspirational female role model and extraordinary mathematician who will forever be called ‘The human-computer.’

It also depicts the life of a Shakuntala Devi who was much more than just a gifted mathematician.

The viewers get an insight into the complicated life choices she had to make and the several other roles she’d played in her life- a mother, a wife and most importantly, a woman who was willing to go after what she wanted, irrespective of life’s circumstances.

Vidya Balan’s acting is delightful, and she beautifully depicts the complex titular character. She captures the attention of the viewer in every scene with her larger-than-life screen presence.

Sanya Malhotra, who plays Shakuntala’s daughter, does an equally admirable job.

Anu Menon’s fourth film does a fine job of balancing the ups and downs of the plot, which is told from the perspective of Anupama Banerji, Shakuntala’s daughter. She plays an important role in the film, with her journey being as significant to the storyline as that of her mother.

The first half of the film is mostly light and shows an enthusiastic, confident, and courageous Shakuntala, her various achievements in the field of mathematics and the feat of defeating one of the fastest computers of the day, which earned her the tag she is called to date- The human-computer. Her relationship with her parents is also explored slowly throughout the film.

The second half gets a little more serious and delves into her marriage with IAS officer, Paritosh Banerji, and her tumultuous relationship with their daughter, Anupama.

Certain scenes get a little draggy, like the emotional reconciliations of the mother-daughter duo but the message at the end makes it all worth it.

It addresses beautifully, the completely patriarchal view of a women’s achievements that existed back when a young Shakuntala had just started to harness her gift in the streets of London and continues to exist in a world that will forever mourn her loss.

The film portrays the journey of a woman who learned how to recognize her value and never let any such patriarchal stereotypes stand in the way of what she wanted. It is a fitting depiction of a great mathematician who dedicated her entire life to her passion and love for numbers and whose fundas continue to be taught in schools all over the world.

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