A review of the film, Chittagong that narrates the story of the Chittagong uprising in the early 1930s featuring members of the "revolutionary terrorist" group, Jugantar.
The film barely offers an honest debate on caste-based reservation; instead the plot merely promotes private education, mixed with an unhealthy dose of charity, individual morality and traditionalism, writes SAQIB KHAN
"I would like to propose that the film, in its realist figuring of the city’s sordid streets and quarters actually touches on a very profound anxiety of the upwardly mobile urban middle class towards those spaces on the fringes of the city ( by- passed by global economic transformations and home to thousands who battle there for survival) that continually threaten to either spill over into the manicured residential and shopping spaces of the beneficiaries of market economy or to suck you into the black hole of its deathly abyss! In this sense Aamir is any ‘common man’ whose entrapment in this ‘other’ world proves to be so dreadfully fatal." Reviews Aarti Wani
"From the tagline of the film to the last scene, the word “kranti” (Revolution) was reiterated several times, and very interestingly, as all roads lead to Rome, all of the revolutions were also carefully made to lead either to the post of the chief, or to the lap of a woman. Reducing each and every aspect of political flaw and ideological bankruptcy of the separatist movement into the domain of sexual frustration may make the long died famous dream interpreter happy, but is surely ruining the political future of our country". Anirban Ghatak of Pragoti editorial team reviews Gulaal.
Ari Folman's Waltz with Bashir has won international acclaim with several awards and an Academy nomination for the Foreign Language Film category. "More than a quarter of a century after the atrocities in Sabra and Shatila, during which approximately 2,000 civilians were brutally murdered, we are witnessing a perverse moment: an apparently "anti-war" Israeli film wins several Israeli and international film awards in a context not only of Israel's ongoing brutal occupation, violations of international law, racism and denial of refugee rights, but also while fresh atrocities are committed by Israeli forces in Gaza", writes Naira Antoun.
A critique of Slumdog Millionaire.
Ghajini is a violent tale of individual retribution and revenge, in essence no different from hundreds of other such films, from Hollywood to Bombay to Madras to Hyderabad to Lahore, about a super-strong hero destroying, single-handed, an evil villain. Ghajini is an assault on the audiences’ intelligence. Actually, many parts are just an assault – loud, jarring, over the top. The movie is just plain dumb. The film could have been, but is not, the nightmare that could have haunted the head honchos of Enron and Satyam, and indeed countless others, as they face meltdown, liquidation, bankruptcy and pauperization.says Sudhanva Deshpande.
"While we have many great documentaries telling the story of the global water wars, including this year’s Flow and Blue Gold, one is forced to wonder if 007 does a greater service to the water movement than even our most highly talented documentarians. After all, who better than Hollywood to characterize the greenwashing corporate water profiteers as straight up evil, sans the need to justify the hyperbole?"
Jeff Conant reviews Quantum of Solace in Upside Down World.
''KANGAMBA is one of the most serious and dramatic films I have ever seen. ...When a film even more dramatic than Kangamba is made, film history will show even more impressive episodes where the massive heroism of Cubans and Angolans shone until apartheid was defeated in humiliation."
Fidel Castro reflects on Kangamba, the Cuban film by Rogelio Paris and Jorge Fuentes.