The Indian Express, ****: 'Aamir Bashir’s directorial debut is finely wrought, and harrowing. It stays unwaveringly with the people it depicts, who live mostly with despair, because hope is too costly. (...) Bashir, who was a successful actor for many years before he switched to writing and directing, is from Kashmir. And his story has an interiority which doesn’t need words, because he has seen this and felt this. The sense of foreboding that gripped me when the film began didn’t let go; I let out my breath only when the film was over, and then took refuge in silence. Harud is an elegy, a film that is hard to watch but one that must be watched. Because we say this is our land, and they say it is theirs, but look what we have done to it'. CNN-IBN, ***: 'Harud directed by Aamir Bashir is subtle and understated, and unfolds at a quiet, unhurried pace despite the urgency of the themes it addresses. (...) Harud is an intensely personal film that benefits considerably from its minimalist dialogue and mostly barren soundtrack. Clearly wanting you to get a real sense of his characters' lives, director Aamir Bashir uses long silences, occasionally repetitive shots, and that meditative pace to make his point. Not all of it works at all times. (...) Yet, the film has an honest, aching beauty that's irresistible despite its bumps. (...) This is an important, delicate film that asks a lot from its audience. Turn off your cell-phone and submit yourself to it; you won't be disappointed'. The Film Street Journal, **: 'Subtle performances, without too many obvious dialogues, make sure that the film is not a mere entertainer. It commands people to ponder. (...) Despite its many insights, Harud fails to evoke any real emotions in the viewer. (...) It is a tale told with complexity, demanding complete focus on the proceedings, which inches forward at a snail’s pace, making it difficult to pay complete attention. The complete lack of humor and music adds solemnity to an already serious subject. The use of subtle metaphors and symbols cuts off the understanding of the film for a major section of the people. (...) Being a Kashmiri himself, Aamir Bashir has chosen a subject close to his heart. But the telling doesn’t translate into heartfelt cinema'. DearCinema: 'The tranquil restraint with which Aamir Bashir and Shanker Raman depict the violence and madness in Kashmir in Harud (Autumn) is extra-ordinary. They achieve remarkable success in capturing the human side of the situation in Kashmir in a manner that we rarely see in Indian cinema. (...) Quite contrary to the stereotypical vision of the valley, the Kashmir of Harud is made of closed spaces. (...) There is a certain austerity with which the film seems to be made. (...) The power of Harud lies in its silences. (...) We the audience, lost in the confusion of the protagonist, know little of what’s brewing underneath the superficial calm of the film. When this restlessness comes to the fore after a violent eruption, the film leaves us with a profound feeling of loss. It’s truly a cinematic vision, an outcome of the successful collaboration between the writer-director (Aamir Bashir) and writer-cinematographer (Shanker Raman). Harud is a highly accomplished piece of cinema that’s innately humane in its storytelling'. Mayank Shekhar: 'The film’s treatment matches its subject. This isn’t a picture about a running plot. If anything, some audiences might find the subtlety in the narrative too sedating for comfort. It effectively captures the atmosphere. A rough, docu-drama feel draws you into a world that news and statistics usually detach us from. We read about Kashmir’s suffering. The shaky digital camera, following the boy’s life, plants us right in the middle of the valley of darkness. The effect is mildly chilling. The empathy is complete. Cinema isn’t always designed to merely entertain. Some of it, like this one, can instantly transport us into the lives of others'. Box Office India: 'The best part of this film is its honesty and the subtlety with which the story is told. In its simple approach, Harud tries to showcase the fear that envelopes the Kashmiris in their everyday lives. (...) Aamir Bashir, who is known for his acting career, makes his debut as a director with Harud. Though his story-telling skills lack zest, he does impress with the honesty behind the film. But he needs to pay more attention to detail. Many scenes end abruptly and are inconclusive'.
29 luglio 2012
La regista Pooja Bhatt osa l'impensabile e offre al pubblico indiano una pellicola a sfondo erotico, Jism 2, nella quale il ruolo della protagonista è affidato all'attrice porno indocanadese Sunny Leone, affiancata da un bollente Randeep Hooda. Per i maschietti: potete ammirare Sunny in azione, in abitini succinti ma più frequentemente in biancheria supersexy, nel trailer in edizione non censurata e nei video dei brani Jism 2, Abhi Abhi, Maula, Yeh Kasoor, Hey Walla e Darta Hoon (Adhoora), inclusi nella colonna sonora del film. Contenti? Per le femminucce: ma chissenefrega di quella rifattona della Leone! Noi prenotiamo la prima fila solo per Randeep: *LUI* ce lo prendiamo anche vestito da Lupo Alberto...
A seguito del successo della serie televisiva Little Krishna, le vicende della giovanissima divinità vengono raccontate nel primo film indiano d'animazione in 3D stereoscopico, Krishna Aur Kans, diretto da Vikram Veturi. Le voci dei genitori di Krishna sono prestate da Juhi Chawla e da Manoj Bajpai. La colonna sonora è composta da Shantanu Moitra. Un assaggio nel video Hey Krishna. La pellicola viene distribuita anche in edizione in lingua inglese, tamil e telugu. Trailer.
Bollywood Hungama, ***1/2: 'Adult humor is something that is yet to be explored to the fullest in Hindi filmdom. Masti (2004) and Kyaa Kool Hain Hum (2005) were two of the earliest films that made way for adult comedies. Last year's Delhi Belly, which was brimming with adult humor, made us realize that we are at ease with adult jokes and this genre is no longer considered discreditable or disgraceful. (...) Yardi has kept the narrative speedy all the way through and has integrated some clever lines to keep the hilarity alive. There are sooooo many hilarious episodes in the film and several naughty jokes as well. Also, a bucketful of double entendres. (...) Though there's hardly a dull moment in its swift screenplay, I wish to add, KSKHH droops faintly in the middle, but again concludes on an unpredictably sprightly high. Besides, there are some jokes that work big time, while a few only try very hard to evoke mirth. (...) Despite the sexual tone, adult jokes, impish humor, the movie, at no juncture, gets offensive, distasteful or objectionable. In fact, it's one big joyride from commencement to conclusion'. The Times of India, ***: 'Director Sachin Yardi's film will appeal to an audience who trips over 'hard-core' sex comedies. There are scenes that 'vibrate' with humour, and squeeze ample laughs (some forced), but it's mostly a bleak story-line with random scenes which are padded with pun-fulls of adult humour, sexual innuendo, and expletive one-liners. For a sex-comedy, the film is a tad long. (...) If you have a whacked out sense of humour, and are willing to leave your brains behind, go laugh your guts out! It's all below the belt anyway'. The Film Street Journal, **1/2: 'Unabashedly politically incorrect, farcical, preposterous, ridiculous, perverse, potty-humour and slapstick, but most of all, completely unapologetic.The soul or the loose character of the film, remains in place all through with the constant influx of adult humour. (...) Slapstick accepted, low-level humour okay, but the maximum gags are on homosexuals, making them objects of scorn. (...) Half star extra to Tusshar (Kapoor) for poking fun at himself'. Hindustan Times, *1/2: 'Writer-director Sachin Yardi is too lazy to create a plot, so the film is just a series of gags that allow him to bung in as many puerile sexual innuendos as possible. (...) Yes, that’s seriously scary. Only the brave need venture in'. CNN-IBN, *1/2: 'The problem with this film isn't that it's so unapologetically vulgar, but that it's just not very funny. And that's a shame, because leading men Tusshar Kapoor and Ritesh Deshmukh have a winning chemistry and sharp comic timing…now if only they were required to do a little more than stripping down to their boxers and repeatedly making crude gay jokes'. Rediff, *1/2: '(...) there's really no point to a sexless sex comedy. (...) at two hours 16 minutes, it feels nearly two hours too long'. Business of Cinema, *: '(...) if, like me, you find jokes about fair skin being better than dark skin racist and latent homophobia abhorrent then KSKHH will not only leave you numb, but offended. I noticed in the morning show that it was backpack carrying repressed teenage boys enjoyed the double entendres the most. The girls, on the other, would much rather have been watching Cocktail!'.