The Banshees Of Brotherhood |
OTTplay's critic Rahul Desai writes about rediscovering the grief and solace in Martin McDonagh's acclaimed film. |
IN MY HEAD, I’ve nurtured a very cinematic image of retirement. I live in a quaint hilltown with my partner. We spend our time reading, talking, cooking and taking long walks around our cottage. But we aren’t alone in this town. My best friend — a man who’s living evidence that buddies can be soulmates too; a guy I’ve seen the world with — lives a few doors down. The two of us didn’t just happen to stay in the same place; we planned it decades ago. So we meet at the local bar for exactly two beers every evening. We play cards. We listen to music. We discuss the good old days. Then we go back to our respective homes, tipsy and satisfied with the surety of our bond. We’ve earned the muscle memory of this regimen; we’ve worked to reframe mundanity as the medicine of familiarity. Come hell or high water, that hour at the bar is non-negotiable. It doesn’t need a text message or a phone call — it’s like strolling into your bedroom after dinner without even realising it. In my head, I knew who this friend would be. Over the years, our compatibility and chemistry led many to think we were romantically involved. This was not only a compliment, but also an amusing signpost of a shared tomorrow. That bar definitely had a table with our names on it. One of my favourite moments from our travels features a night in faraway Riga. We had spent the day doing separate tours. We were supposed to meet near a landmark at sunset. But a slight misunderstanding meant that we lost ourselves in the tourist rush. More importantly, neither of us had international sim cards. There was no cell coverage; we had no maps to work with. The only way was to walk all the way back to the apartment and hope for a coincidence. While I contemplated every shorter option, I popped into a basement pub to escape the cold. And there he was — trying to catch a WiFi signal near a window. Of all the cosy escapes in the city, we had chosen the same one. It was meant to be. Continue reading. |
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| Afwaah, The Kerala Story & A Tale Of Two Indias |
IT SAYS SOMETHING about the current state of India that Sudhir Mishra’s Afwaah and Sudipto Sen’s The Kerala Story have released on the same day. The overlap is not just a detail but tells a wider story of the country we have come to inhabit, the robust divisiveness spreading across a borderless nation, and the surging bigotry that has reduced ideology to a tug of war. Both films are made not just by two different filmmakers but two different kinds of filmmakers working in Hindi cinema today; the gap between them is imbued with diverging political leanings rather than contrasting personal styles which ultimately, and more crucially, says everything about the current political landscape of the Indian state. — ISHITA SENGUPTA |
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PS2's Success Will Spur Even More Sequels (& The Overuse Of A Formula?) |
IN RECENT TIMES, there has been a significant rise in sequels in Indian cinema, especially in the South. While some of them have brought in new viewers and expanded the original's popularity, others have been mocked for being utterly unambitious. When it comes to a two-part narrative, SS Rajamouli’s Baahubali is perhaps the first that comes to mind. Baahubali: The Beginning is incomplete without Baahubali 2: The Conclusion. They have to be discussed and analysed together as they both live under the same roof rather than the same universe. Of course, Baahubali 2 is better than the first part because it is tighter (with regard to the screenplay) and more confident about where it’s going. But it cannot be viewed in isolation. This caveat can also be applied to Prashanth Neel’s KGF movies and Mani Ratnam’s Ponniyin Selvan: I & II. — KARTHIK KERAMALU |
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