Posts Tagged ‘Mumbai Film festival’

With its premiere at the ongoing Toronto International Film Festival, more good news coming in for Konkona Sensharma’s directorial debut, A Death In The Gunj.

The film will open this year’s MAMI Film Festival which will run from October 20th -27th, 2016. The film’s cast includes Vikrant Massey, Ranvir Shorey, Kalki Koechlin, Gulshan Devaiah, Tillotama Shome, Jim Sarbh, Tanuja Mukherjee, Om Puri and Arya Sharma.

Here’s TIFF’s Cameron Bailey on the film –

ADITGHaving made an indelible impact on Indian cinema with her work in front of the camera, renowned actor Konkona Sensharma (Talvar) makes her debut as a writer-director with this tense family drama.

It’s the late 1970s, and just outside the quiet Indian resort town of McCluskiegunj, a family gathers in their country home and prepares to ring in the new year with old friends. On the periphery of the family’s focus hovers the young man Shutu (Vikrant Massey), an innocent attempting to navigate a world that’s unkind to his sensitive nature.

Shutu would rather spend time with his friend’s young daughter than engage with the adults, but he is eventually drawn into the messy realm of mature emotions and desires. Relationships in these close quarters begin to simmer and strain, and Shutu struggles to define his masculinity and sense of self — even as the atmosphere becomes suffused with lust and mystery.

Sensharma was a star of Indian Parallel Cinema, the movement made famous by the likes of Satyajit Ray and Mrinal Sen, and her directorial approach shares a realist sensibility with the work of those directors. Shot on location in Jharkhand State, the film is deeply steeped in a sense of place; Sensharma’s camera captures the natural beauty of the family home’s surroundings as she patiently lets her Chekhovian story build to its dramatic and tragic conclusion.

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For more stills and trailer of the film, click here.

The early buzz from TIFF is great so far. This review calls it an assured debut. Journalist and film programmer Aseem Chhabra is also quite impressed by the film. See his tweets.

We can’t wait to catch it at MAMI.

Some exciting news for film buffs. Mumbai Academy Of Moving Image (MAMI) which runs the Mumbai Film Festival, has now opened a Film Club. And here’s the best part – the registration is absolutely free. Not only that, the film club membership will also give you 10% discount on the MAMI registration fees. So do it now! Click here to go to registration page.

The club launched with the Ian McKellen Masterclass. Now, it’s going to have another exciting event on Monday, 27th June – the premiere of Q’s latest film Brahman Naman. Written by Naman Ramachandran and co-produced by Celine Loop and Steve Barron, the film will be available globally starting 7 th July 2016 as a Netflix original film.

Brahman Naman stars Shashank Arora as the lead character with Tanmay Dhanania and Chaitanya Varad as his sidekicks. The cast also includes Vaiswath Shankar, Sindhu Sreenivasa Murthy and Sid Mallya. Well-regarded internationally as one of India’s most vital and provocative indie filmmakers, Q’s latest cinematic cocktail is a nerdy sex comedy.

The screening will be followed by a Q and A with Q. Don’t miss it.

The pic attached tells you what you need to do to attend the screening.

Social Media Follow Up Announcement

 

Ruchika Oberoi’s debut feature Island City premiered at Venice Days, an independent parallel sidebar section at the Venice Film Festival, which is promoted by the Italian Association of Filmmakers and authors. It also won the FEDORA prize for the Best Young Director. The film had its Indian premiere at the recently concluded Mumbai Film Festival.

Here’s ThePuccaCritic‘s post on the film.

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“6 AM. Good Morning.” Says an alarm clock.

“5th floor. Humidity is 38%.” Informs an elevator.

“Due to wastage of water, we have removed water filters. Thank you, Systematic Statistics. Fun. Frolic. Festivity.” Announces an automated electronic voice.

These are the voices we hear, while we follow this gentleman called Suyash Chaturvedi, which informs us about his daily routine. He is a part of the crowd which enters those tall, shiny glass buildings everyday sharp at 10AM and leaves at 7PM, as if their biological clocks are synchronized with that of a computer. The building he enters is of Systematic Statistics, which swallows numbers and data to churn out graphs and pie-charts, where, like any other corporate office, there is little difference between a man and machine. Where a man’s freedom, personality, and individuality are sucked out of him, and in those tidy, dull-colored formal shirt-pants, everyone look the same – rusted and worn out, like a cog wheel. Which he is. In the scheme of this mechanical system, and, in this quest of earning a livelihood, he has lost his liveliness.

If you’ve ever been a part of any corporate job, you would have cursed the Branding/HR department at least a hundred times during your course there. Every office has this “Fun Committee” that has the pressure on them to make their employees feel happy just because one corporate legend said ‘fun is necessary for productivity’. “Why are you not having fun?” yells his boss. Chaturvedi is now made to have fun. Obviously, he is not asked what he would like to do. A set of instructions – like how we program a computer – has to be “obeyed” by him to complete his mandatory procedure of fun. This satire on corporate culture then naturally grows into a whole commentary on the middle-class urban idea of fun. Chaturvedi is taken on the Bollywood’s kidnapping machine — a van, to a surrealistic dark chamber that leads to humankind’s most dreadful construction of all time that now exists on every other road-corner :a shopping mall!

Island City, in its third short, Contact, which encompasses the time span of events occurred in both the earlier shorts, is about the people who is at the receiving end of the technology developed by companies for which people like Suyash works. The protagonist in Contact, Aarti Patel, in her daily job reads newspapers freshly printed off by machines. One day she starts receiving heartfelt, hand-written love letters. These letters make her hopeful of leaving her egoistic, disrespecting, and neglecting fiancé whom her family has chosen for her. But as one day doom strikes –(SPOILER ALERT) —we learn that these letters are no different than the newspapers she read…they have been written by some artificially intelligent machine. This is The-Lunchbox-meets-Her in a traditional space where technology is prospecting to invade. (SPOILER OVER) And as a consequence of the first story, Fun Committee, we see this (failed) technology pushes her back to the regressivity she wanted to escape. In this war of man v/s machine, both are losing out to each other. While we are trying to make machines that speak and feel like humans, we fail to realize that in the process machines are making us one of them.

These two shorts form an arc for man-as-machine and machine-as-man aspects of the narrative. In the second short, Ghost In The Machine, the patriarch father-husband of a Maharashtrian Joshi family is in coma, hospitalized, and is replaced by a TV at home. This replacement of man by a machine turns out not bad after all for the family. The kids, the mother, and the wife see the respective ‘spirit’ of the father, son, and the husband they wanted, in the lead hero of the daily soap, ‘Purushottam‘ (impeccably created) aired on this TV. Kids enjoy seeing him daily; the aged mother wishes well for him; the housewife (lovely Amruta Subhash) can now work as a school teacher which her real husband had denied. Satirical about our daily life and relationships, this is the most hopeful (and also the most “entertaining”) short in this portmanteau feature about the nature of men and the machines.

Technology’s primary aim has always been to advance humankind along with its culture. While the opening and the closing shorts (Fun Committee and Contact) critically looks at the despair it is causing to the human form of life, Ghost In The Machine’s hopefulness, with technology replacing the man of primitive thoughts by the virtual model of another mythological man, keeps the cycle and war of man versus machine going.

@ThePuccaCritic

(Anup Pandey is a corporate machine on weekdays but turns into a human on weekends at the movies. Writes film and Hindi music reviews at thepuccacritic.blogspot.com. Tweets at @ThePuccaCritic )

And we have come to the last day of the festival. Continuing with our daily reviews and reccos, here are the notes from the last of Mumbai Film Festival, 2015.

Our Day 1 Wrap is here, Day 2 is here, for Day 3 click here, Day 4 is herehere is Day 5, and Day 6 is here. And click here to read the post on Christopher Doyle’s Masterclass.

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Fassbinder – To love without demands by Christian Braad Thomsen

So implosive and concentrated, this one demands a second viewing and deserves a much longer post. The complexity and rich denseness of Fassbinder, the enfant terrible of New German cinema, is so attentively and contemplatively sketched, it is fascinating to delve into the mind and heart of the man and film-maker. It pieces together his life from childhood through rare interviews of Fassbinder and of his other associates and what emerges is an idea of a man as passionate, intense and complex as his films. I missed Junun for this but came back with no regrets at all.

Kothanadi – River of Fables by Bhaskar Hazarika

A German distributor of Bollywood films watching this Assamese gem called it the most original work he had seen in the fest and offered his contacts to the debutante director Bhaskar Hazarika. I couldn’t agree more. Brought up on Ukranian folk tales (like literally hugged the 1000 page book of fables to sleep for years), Kothanadi brought alive the magic realism and earthy ethos of folklore effortlessly. 5-6 stories intertwine with narrative threads and characters joining the dots weaving a mesh of parallel stories moving in the same direction. Rooted in its native and socio-political ethos, the film’s complete lack of need to comment or ‘share a message’ has been the most refreshing cinematic experience of recent times. This is my most favourite film at MAMI this year.

Mor Mann ke Bharam – Illusions of my mind by Abhishek Varma, Heer Ganjwala, Karma Takapa 

Whimsical, imaginative and cryptic, Mor is a delight in more ways than one. It’s a film about the illusions of the mind that creates its narrative for the experience of the illusions. Illusions have a vague form and shifting functions and through the treatment of its themes Mor does something similar. The mystification is not self-conscious and touch of humour is refreshing. Especially, the tongue-in-cheek reflection on difficulties of a film artist. Such a pleasant experience!

Tag by Sion Sono

In another dimension of reality I would have avoided a film like this like plague. But clearly, and true to the film’s premise, I wasn’t in that universe and quickly Tag replaced Microbe as winner of the indulgence of the fest award. Horror cum slasher cum acid trip hallucination turned out to be the most fun at cinema halls I have had in the long time. The premise is there is a world of women where each one is slashed to death by the wind and only one survives. Until she realises she is in a parallel reality and is someone else at some other time. The killing and running continues and in each time she has to save herself. No point writing more about this one, check it out when you can, you know where!

Body by Małgorzata Szumowska

Contemplative document on sadness, broken hearts and troubled relationships, Body, completely desentimentalises pain and anguish and simplifies it. It cannot help take a jibe at the Spiritist school of thought emphasising on emotional healing through spiritual techniques and energy principles to arrive at a very human element of laughter and letting go as the simplest road to love and connection. I was hoping I could end the fest with the much-touted Tangerine but then this wasn’t bad at all. See you next year MAMI.

Fatema Kagalwala

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The Mumbai Film Festival concluded with a closing ceremony on Thursday evening where the winners were announced.

Here’s the list of winners in different categories-

HALF TICKET

Golden Gateway Award for Children’s Feature – OTTAL

The Silver Gateway Award for Children’s Feature – Operation Category

Special mention for Acting – Hetal Gada and Krrish Chhabria

Special Mention for Direction : Morgan Matthews for X + Y

The Golden Gateway for Children’ Short – Dina Velikovskaya for Pro Mamu (About a Mother)

Silver Gateway for Children’ Short: Olga Poliektova and Tatiana Poliektova for My Grandfather Was a Cherry Tree

Jury Special Mention for Direction – Mari Sanders for “Daan Durft” (Go Daan Go!)

Excellence in writing in Cinema AWARD – Gaata Rahe Mera Dil” by Balaji Vittal and Anirudha Bhattacharjee

Film for Social Impact Award by Yes Foundation – Jayaraj for OTTAL

Young Critics Choice Award – KAUL

Audience Choice Award – TAXI

DIMENSIONS MUMBAI

The Silver Gateway Dimensions Mumbai Award – THE VOICE Disha Noyonika Rindani

The Golden Gateway Dimensions Mumbai Award – KUNAL Dhruv Saigal

Special Mentions for Dimensions Mumbai – I SHALL BOW Vedanti Chandrakant Dani

INTERNATIONAL COMPETITION

Jury Grand Prize for International Competition – THITHI by Raam Reddy

Silver Gateway Award for International Competition – Heavenly Nomadic by Mirlan Abdykalykov

Golden Gateway Award for International Competition – Volcano by Jayro Bustamante

Special Jury Mention for Achievement in Directing : Cesar Augusto Acevedo, LAND AND SHADE

Special Jury Mention for Achievement in Acting : Maria Telon of VOLCANO | “Mother Juana”

Special Jury Mention for Achievement in Acting : Farzana Nawabi of MINA WALKING | “Mina”

Special Jury Mention for Ensemble : Sleeping Giant Jackson Martin, Reese Moffat, Nick Serino

Special Jury Mention for Achievement in Screenwriting : Chloe Zhao, SONGS MY BROTHERS TAUGHT ME

INDIA GOLD

Jury Special Prize for India Gold : An Illusion of My Mind/ Mor Mann Ke Bharam by Karma Takapa, Heer Ganjwala and Abhishek Varma

The Silver Gateway Award for India Gold : Haraamkhor by Shlok Sharma

The Golden Gateway Award for India Gold : Chauthi Koot by Gurvinder Singh

 

In the last few years, Mumbai Film Festival has become the top film event for the film buffs. What IFFI promised with Goa, it was never delivered. How much can cheap liquor compensate for the bad/old films showing in fest and sarkaari babus having a Goa holiday with no clue about films/festival. As IFFI went down the radar, MFF went up. Interestingly, many film buffs from outside the city also make their annual trip to Mumbai to see many new dreams unfold on the big screen. So we asked four film buffs if it was worth all the travel, effort and money. We asked them to pen down their memories of the fest, films they are taking back with them, and will they be back for the fest next year?

Over to them.

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Leaving business, kids, pets, and your plants for over a week? Well, back home watching saneema FDFS on a working day, by leaving office by half-day, and putting the mobile on silent mode, even that’s not easy. So imagine the scenario for a week!

For all this, you have to do proper planning, and give extra hours, so that when you’re away from home, business doesn’t get suffered. But still some things always go wrong, like when I called my wife after watching Aligarh on Karwa Chauth, technically it was another day. Boom! 😦

Every year I felt very jealous while reading MAMI tweets by friends, but coming to the festival was another impossible dream. As it happened this year, here’s the film that I will always cherish. Many films affected my life but none like Satyajit Ray’s Aparajito. When Sujoy Ghosh tweeted about screening of restored Apu Trilogy at MAMI, that gave me the courage and motivation, and then there was no stopping.

This is one decision which I’ll never regret and it was worth all the risk and effort I put in for coming here. MAMI festival was so well organized – online booking by BookMyShow, Day wise schedule shared by friends, they made it all very smooth. Later on, with Mumbaikars, even this UP-wala started enjoying standing up for National Anthem. Watching films with celebrities and standing in queues with them is the most valuable memory which I’ll take back home.
Nothing is going to stop me from coming here next time जियो मामी.

This festival was for movies, and films which I loved and hated. This greedy bhaiyya watched 23 films and even managed to watch one outside the festival. You can see my reactions on those films which I tweet immediately after screening @rmanish1 ;-).

To quote Rana saab,

मिट्टी में मिला दे की जुदा हो नहीं सकता,
अब इससे ज़्यादा मैं तेरा हो नहीं सकता ! #MAMI

Manish Rathore, from Lucknow

मैं इस शहर का नहीं हूँ । यह शहर मेरा नहीं है, हालाँकि हमने कोशिश की दोस्ती करने की पर कुछ बात बनी नहीं। इस साल मैं यहां 7 दिन रहा, अकेले। कुछ ज़िन्दगी से ऊब गया था इसलिए, कुछ सिनेमा का प्यार खींच लाया । आज जब बम्बई की 12:40 की लोकल में बैठ के ये लिख रहा हूँ, तो एक कमी महसूस हो रही है। कल से जल्दी-जल्दी भाग के PVR JUHU नहीं पहुंचना पड़ेगा, दो फिल्मों के बीच में कुछ “खाने जाऊं या नहीं” नहीं सोचना पड़ेगा, अब किसी को भी पकड़ के ‘सिनेमा’ पे बात नहीं कर पाऊंगा, इतने हसीं twitter के लोगों से नहीं मिल पाऊंगा। शायद अगले साल MAMI फिर आऊंगा। इन सात दिनों में मैंने खुद को भी बहुत जाना है, दुनिया को भी। और सिनेमा को भी।
फिर मिलेंगे।

वैसे मेरी सबसे पसंदीदा फ़िल्म JUNUN रही। संगीत का सिनेमा में महत्त्व समझना है तो इसे देखिये, इन दोनों का संगम देखना है तो इसे देखिये, और जुनून देखना है तो इसे देखिये।

Bhaskarmani Tripathi , from Surat

Mumbai Film Festival is a revelation in many ways, and this is coming from a Hyderabadi, where we can boast of having a thriving movie-going culture on par with Chennai. So, I’m not lying when I say that the film festival is perhaps one of the very few reasons which would force me to come to Mumbai, at least once in a year. What I found really interesting was that not only was the crowd quite enthusiastic about what they are going to watch, but also the programming of movie content at MAMI to be top class. And it’s both a boon and a curse for the festival.

The number of screens (and also the seating capacity) allotted for the film fest are not enough to accommodate the crowd, and this time, I had to miss several highly-awaited films because there were like 10,000 people like me eager to get into the auditorium. This time, thanks to MAMI’s association with bookmyshow, it was quite easy to book a slot for a particular film; however, there’s only so much you can do given the number of shows for a particular film and more than that, the distance between the venues. It gets really really frustrating to stand in a queue for more than an hour only to find out, in the end, that you can’t get in like 2 minutes before the film begins. I would definitely recommend the fest to people back home, given its mix of content from India and abroad.

This year, I was gobsmacked when I saw Vetrimaaran’s Visaranai. It was a solid statement on how the innocent people in the country are used as pawns in a bigger game, and how fate is so twisted, for a lot of people. A lot of people were so moved by the film, after all the edge-of-the-seat action, that I’m guessing that they would keep raving about the film to all their friends back home, especially in Chennai. Since it’s backed by Vetrimaaran and Dhanush, it’s not a ‘little gem’, at least not in Tamil Nadu. That privilege goes to Raam Reddy’s Thithi, which is another good film to have been made in Kannada this year. I missed a lot of films this year; but I’m glad that I saw both Visaranai and Thithi.

I’ll be back next year. Hopefully, the organisers at MAMI will find bigger venues, which is the need of the hour given how much the fest has grown.

(P.S: The Versova-Andheri-Juhu gang, at the film fest, itself is the size of a small town. So, there’s your answer about how to accommodate such huge crowd at the fest)

–  Hemanth Kumar C R, from Hyderabad

I attended my first MAMI because the people who run the blog MOIFIGHTCLUB, they raved about the films/fest so much. So writing for it is a small full circle for me. 🙂

Having attended it for four times now, MAMI is one of the most anticipated events for me personally. Despite attending IFFI & PIFF every year, it still remains my personal favourite. To be a complete nobody and observe every famous person you’ve known either through films or twitter, to run through the schedule, and be glad to see TAXI & ANOMALISA have 5 screenings only to feel that the curators were genuinely concerned about bringing the best, to simply enjoy films in the land that bleeds with passion for it. MAMI is all this and more.

Film festivals are about films more than anything else. Though there were hiccups this year with the scheduling, screening quality, seating issues, it was all worth for that moment when Farhan Akhtar’s irritating voice urged us to get up for the national anthem. Anyway, festivals are about seeing cinema break and create new grammar. Its about acquainting with new voices who are pushing cinema forward, and after the festival is over, one walks home with a plethora of opportunities, possibilities and ultimately hope, to have rekindled the faith of a cinema lover that had the stench of mediocrity.

And it is the same reason why KAUL is the film of the festival for me. KAUL is among the very few films at the festival that brought in a brand new language and yet managed to strike a connect right from its first frame. KAUL is among those rare works of art where every aspect of the film reeks of the directors vision and sincerity. It isn’t easy to digest. Its dark and painstakingly truthful in ways it tells you about life, even if its guilt that you feel of living a life which seems worthless after the film. Among the many thoughts that the film manages to stir up, one of the most striking dialogues was ‘Culture is mankind’s revenge on nature’. A theory I believe about cinema states that every art, including cinema, is an attempt at coding culture to help viewers decode it for themselves. And what KAUL has done successfully, is it has coded enough culture for generations of people to decode and find meaning in accord to their life. While speaking to Aadish, he mentioned that he wishes that more young people see the film and that he has only told things in the films which everyone knows but have forgotten. It only fits for Aadish that the Young Critics Lab chose his film as the best one in India gold section. KAUL will remain with me for a long time and will be one of the films I go back to every once in a while, to know how I’m doing in life.

Suyash Kamat, from Goa/Pune

What are your MAMI memories? Do post in the comments section.

(Pic – Manish Rathore)

Now we have come to the last day of the fest. And continuing with our daily reviews and reccos, here are the notes from second last of Mumbai Film Festival, 2015.

Our Day 1 Wrap is here, Day 2 is here, for Day 3 click here, Day 4 is here and here is Day 5. And click here to read the post on Christopher Doyle’s Masterclass.

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Looks like this was my last day at MAMI as tomorrow is fully packed with deadlines and work-meetings. Always a sad feeling to see this week ending.  Kind of the same feeling i used to have when summer vacations ended during school.

And a good time to thank the people behind MAMI (including so many hardworking, lovely volunteers) for making it such a brilliant show this year. I know some filmmakers were unhappy with projection and tech issues but i don’t think in terms of management and movie options we’ve had a better year recently. A few things that worked big time for me this year:

– Hot Docs collaboration as well as other docs. The Pearl Button, Missing people, Junun, Monty Python, The Greenpeace doc, Sydney Lumet, Placebo, Fassbinder, Hong Kong Trilogy, The Arab Idol one.

– Half Ticket section. Did you know school kids were coming daily morning 8:30 am to watch films? And some really great films at play there.

 – The ticketing process. No SMS ka jhanjhat and very smooth handling by BMS people while delivering the delegate passes. Also the bags look lovely this year.
– Doyle Q&A and masterclass. Hope next year we have more of (crazy) legends coming to impart their madness.
Caught just 3 films today.

Junun By Paul Thomas Anderson

THE Paul Thomas Anderson last year filmed a documentary in (our) Rajasthan about a bunch of western musicians (Shye Ben Tzur and Jonny Greenwood) jamming for an album with local Managniyar singers (Chugge Khan group), a brass band (that band-leader Aamir is a magician), and some bawaal qawwals. The result is this most simple yet exhilarating documentary full of some stunning songs and visuals of the jamming process. It was almost like being in a live concert! BRILLIANT.

Sworn Virgin by Laura Bispuri

This Albanian film was a blind selection and it turned out to be very good. A slightly grim but always gripping look at female sexuality through a girl who starts living like a boy through a local village custom that would allow her an escape from the life of subjugation women have to face.

Monty Python – The Meaning Of Live by Roger Graef, James Rogan

What a way to end the festival’, I told myself as we were stepping out after watching this. Monty Python has been one of the huge influences of my life as a comedy writer, and to see this film about their reunion stage shows last year (which were the LAST TIME EVER they would get together) was an emotional journey. The finest, funniest men have still got their mojo and the film has great insights about comedy and performing live. (One of the original six, Graham Chapman is now dead so the reunion show was called ‘One down, five to go’. Haha.) The vintage footage from their world tours 40-years ago was a bonus. Of course this film is kinda niche, only for the fans of the group, but what a trip for the real fans!

Varun Grover

Schneider V/s Bax By Alex Van Warmerdam

Hitman V/S Hitman. Dead Pan Faces Delivering dark humour punches. In a very unusual lakeside universe set up by Warmerdam, he keeps shuffling the environment of the film from comedy to thriller without letting you know. Acting himself as bax, Warmerdam’s weird family This one has brilliant Performances and some unpredictably brilliant moments.

The Pearl Button‎ By Patricio Guzmán

Guzmán’s Pearl Button is a gem of a documentary. He connects nomadic indigenous ‎people living in water with political murders thrown in the same water. Both the subjects are very disparate and hence the documentary is somewhere a bit too ambitious. However, attractive images of water and equally intriguing discussions on Pinochet’s cruel documentary made the pearl button a gem worth watching.

Tag By Sion Sono

Sion sono’ love for undergarments continues in this upskirt horror. But there was more to this film than the usual mayhem. Tag is a completely pro feminist ‎action fantasy by Japanese legend Sino Sono. It was an experience to watch this film on large screen because it was way too extreme for the mainstream because in this gory madfest Mitsuko keeps tripping like Alice from wonderland. And she ends up attracting grindhouse style danger everywhere. Mitsuko later trips into keiko and izumi but still remains prone to danger.
‎The scene in the beginning where the wind splits the bus into two and the one where teachers start killing children with machine guns are complete Sion Sono signature styled scenes filled with excitement and thrill.

Tag has by far been one of the top films I have seen at the festival this year.

Victoria by Sebastin Schipper

Rest in peace, Birdman. The real deal is here. Victoria, a bank robbery thriller already sets hearts pacing as it is a 134 minute long single take. ‎Sounds like a stunt. Or a digitally manipulated virtual wonder but it is not. Victoria is an achievement. It is an exhilarating experience to watch this single take film across more than 20 loacations including some crazy nightclub scenes later leading to edge of the seat drama. The narrative is so tightly binded that the film moves from head spinning weird nighclub moves to composed and realistic scenes to breath taking robbery thrill. Actors, Cinematographer and others involved were in action for a continuous 2 hours and above.

There is no doubt as to why Sturla Grovlen’s name preceded the end credits in this mad mad mad film. Take a bow, Sturla. What presence of mind throughout.

Harsh Desai