Posts Tagged ‘story’

qissa_01

We at mFC have been vocal supporter of Anup Singh’s Punjabi film Qissa. We not only loved and recommended the film, but we put it in our mFC’s Must-Watch list also. So it was bit shocking to us when he was accused of not crediting the original source of the story. A Facebook post by theatre actor and co-founder of Why Loiter? Mumbai, Neha Singh, has gone viral in the last few days. We are copy-pasting the post here –

It’s disappointing that the makers of the film Qissa forgot to give credit to the marvelous Rajasthani writer Vijaydan Detha on whose short story ‘Dohri Zindagi‘ the film is based. Vijaydan Detha (1926-2013) is a par excellent Indian writer who wrote in Rajasthani and on whose stories filmmakers Mani Kaul (Duvidha), Amol Palekar (Paheli) and Prakash Jha (Parinati) have made films. Dohri Zindagi is a story of a man who raises his daughter like a boy, hides the fact that she is a girl from everyone is the village and then marries her off to another girl. When the bride realizes her husband is a woman, she is devastated, but she decides to stick with her. Both of them run away, while the villagers try to kill them, and a ghost comes as their saviour. When the girl that was raised as a boy pleads with the ghost to turn her into a man, he does so. As soon as the girl turns into a boy, she tries raping the wife.

It is unfortunate that the credit wasn’t given, because the filmmakers are depriving the young audiences in getting acquainted with this literary stalwart. When I went to see the film, the young film buffs sitting besides me exclaimed ‘what a concept’, ‘how revolutionary’, without knowing that this story was written by a simple Rajasthani writer in a village many decades ago. Vijaydan Detha is a Padma Shri and Sahitya Academy award recipient as was nominated for the Nobel Prize in 2011. He wrote over 1300 poems and over 300 short stories. His works have been translated in Hindi and English but its a pity hardly anyone knows about him. But everyone knows about Chetan Bhagat.

The original post is here.

Anup Singh has now clarified his stand on this credit controversy in another Facebook post. This is his post –

Anyone who has seen Qissa must feel the intimate, personal nature of the tale. It’s a thing difficult for me to mention, but please keep in mind that I grew up a Sikh in Africa. The long hair and the frail body of a teenaged boy in a culture unfamiliar with Sikhism often led, as you might imagine, to traumatic experiences. And surrounding that, the refugee tales of my grandfather of lost relatives, of old ghosts coming alive in the telling — these are the real secret threads of Qissa.

It’s always wondrous how these little threads of a personal lived experience, the tales of our forefathers lead us to weave stories that evoke and dialogue with other intense experiences become tales in other cultures. There are African tales of girls living as men, there are similar Egyptian and Moroccan and Turkish tales. And tales in Spain …

Qissa is my childhood, my response to the violence of our time, my putting the ghosts of my grandfather and other relatives to rest.

Please do not reduce our imagination to a single reading or a single tale. We are all many tales, many possibilities.

You can read the post on FB here.

Thanks to filmmaker Sujoy Ghosh, we had put out the script of Kahaani here. And here’s an interesting post by one of our readers Deepanjali B Sarkar where she compares the script with the film. And also keeps a check on the timeline – what happens where, at what time, and for how long. Over to her.

Kahaani2

KAHAANI

I’ve now seen Kahaani several times, the last time with the script in hand, provided by this blog. Here are some rapid notes I made – mainly on the pacing and plot points (which is what makes it such a gripping film). Sharing it – in case others find it useful. Have listed the run time at which each plot point takes place.

So here goes

  • Hook – introduced within 10  mins: taxi driver says it’s for the first time that he has driven someone to the police station straight from the airport. Add to that – that she is pregnant.
  • Dramatic premise – husband missing: approx. 15.45 mins. Vidya files missing complaint in Kalighat police station. This sequence is packed with information (set up/clues) that will come into critical use as the thriller unfolds (pay off):
    • Husband worked in National Data Centre. Later we get to know the main suspect Milan Damji is an employee of National Data Centre, as is Shridhar, the IT head who assigns Bob Biswas, the hired assassin, his targets.
    • Vidya is a firewall expert. Crucial in her gaining access to IT head’s system, which leads them to IB head, Bhaskaran.
    • Vidya has a dizzy spell when asked to sign the missing person report. Pay off – she never left behind any fingerprints.
  • First red herring: Mona Lisa Hotel. Approx 20 mins.

By the way – had a question here. Did her husband actually stay here? Or how did she know of the decorative piece, the peacock? If he didn’t why this hotel in particular? Because it didn’t keep any records of its guests?

  • Second red herring: Arnav’s uncle’s house. 31 mins
  • Third red herring: Arnav’s school. 31.30 mins
  • Fourth red herring: Kolkata immigration
  • First clue! Milan Damji; Second clue – Bombay blood group. When Vidya meets Agnes Demelo in Mocambo. 35 mins
  • Bob the Killer introduced. 35.58 mins
  • First murder – Agnes Demelo. 37.29 mins
  • Khan – crucial link in plot – introduced. Being from the IB, he will lead Vidya to _____. 38.24 mins. 40 mins
  • Capt. Bajpayee introduced. The Kahaani actually starts with him training three agents. Introduced at 40.07 mins
  • Plot thickens! Vidya remembers that Khan refers to Damji by first name. So he must be familiar with him though he claims not to know him. 44.22 mins
  • Khan inducts Rana into the case (audience doesn’t know of it as yet)
  • Bob’s 2nd assignment: Retrieve Milan Damji’s file. 49.52 mins
  • Third clue! Identity of Milan Damji – from old records of National Data Centre. 50.23 mins
  • Pre-interval climax! Vidya pushed into metro tracks. 55.55 mins
  • NOW – Backstory. 57.38 mins

But why will Bhaskaran approach Bajpayee when he himself is the kingpin of the entire operation?

  • Vidya voices audience’s doubts. Missing from script. (1) Arnab has deserted her (2) Arnab and Milan are one and the same (3) Arnab has been targeted because he looks like Milan Damji.
  • Turning point: Jis din Milan mil jayega, us din, Arnab mil jayega. So hunt on for Milan Damji. No longer for Arnab.  59.07
  • Transition scene: Missing in script. Lovely touch of the playful side of Vidya. The two are travelling in a tram, she accidentally kicks Rana. He touches his forehead (pranam). She is intrigued and playfully kicks him again…and again!
  • Fourth clue! Milan Damji’s house – tea glasses from tea stall outside. Boy at tea stall remembers man with brass corners briefcase. This is the FINAL LINK to Bhaskaran. 1.03 hrs
  • Clue – follow up- Bombay blood required by Milan Damji when he was admitted in Ekbalpur Nursing Home.
  • No records of Milan Damji in Ekbalpur Nursing Home. Next —> Police Informer
  • Kumartuli – locate police informer. Nice touch – Vidya slips, Rana holds her hand. 1.06 mins
  • Police informer – Pal asked to locate who needed Bombay Blood in Ekbalpur Nursing home and why. Pal refuses to help. Vidya pleads, appealing on behalf of her unborn child. Vital leads acquired only because she is a helpless pregnant woman. Police wouldn’t have been able to extract the information. 1.07 hrs
  • Police informer Pal talks of shoot-out. Next clue – doctor who treated Milan Damji. Bob receives next job – kill Doctor Ganguli. 1.09 hrs
  • Vidya finds details about the shoot-out from Kalighat police station computer records

Rana’s attraction to Vidya grows (proximity as she bends over him to look at computer records)

  • Scene 142: Set up that will lead to the Denouement —> Vidya cleans table. Cleans it off her finger prints
  • Scene 143 – 145: Shoot out explanation by Rana. National Data Centre provides IB agents with cover/double identities
  • Scene 146 – 147: Poltu points out man with Briefcase -> Shridhar. 1.14 hrs
  • Scene 148: Bob’s next job -> Vidya. Shridhar, the Chief Technology Officer of Data Centre scans Vidya’s photo and MMS’ it to Bob
  • Scene 149: Nice touch. Bob is shining his nails when he gets his next job. He looks exasperated and the way he says to rickshaw valla – turn around, it looks as if he’s been given an errand to run to the fish market before leaving for office!
  • Scene 150 – 151: Dramatic scene. Chase! Bob chases Vidya. Kills innocent passerby. Rana chases Bob. Bob is run over by a truck. 1.16 hrs
  • Scene 154: Track Sridhar, handler of Bob/CTO of Data Centre. 1.19 hrs
  • Scene 155:   IP address of sender of MMS to Bob
  • Scene 158:  Sridhar signs out. Set up: peon carries three glasses; visitor’s book is out
  • Scene 162: Sridhar figures out his computer is being hacked. 1.23 hrs
  • Scene 163 – 166: Sridhar runs to his chamber. 1.25 hrs
  • Scene 167 – 168: Shridhar chases Vidya. Fight between Rana and Shridhar. Vidya kills Shridhar.
  • Scene 169: Khan arrives on scene. Says he wanted Shridhar alive to lead them onto Damji.
  • Scene 170: False denouement: Khan tells Vidya she had been used as bait to lead them onto Damji because no one suspects a pregnant woman. TURNING POINT: Khan asks Vidya to hack into Sridhar’s computer to find out who is the kingpin of the entire plot. 1.28 hrs
  • Scene 171: Not present in script. Panchami-idols come at night. Vidya watches a Durga idol. Charulata shot: from window to next window she follows the idol atop a truck. Ekla chalo re song plays in the background. She is readying herself for the final slaying of the demon – Milan Damji. Scene ends with close up of Durga’s lion on beheaded head of Asura Mahishasura and Goddess being bedecked with jewellery. She is being empowered.
  • Montage: not present in script. Vidya trying to hack into Sridhar’s computer to get info about kingpin; sashthi, the first day of Durga puja; women in white and red saris; Vidya cleaning her room meticulously; Vidya calling Bishnu for hot water; Puja in full swing – aarti in evening, dhunuchi dance; Vidya looking at parents with their kids at puja pandals; 1.32 hrs
  • FINAL CLUE! Vidya finds a code in Sridhar’s computer she can’t decipher. Rana realises it might be a phone number. Turns out to be Bhaskaran’s old number. Khan asks Vidya to call Bhaskaran – rest in script.
  • Scene ends with call from Milan Damji. Final link in the chain. (Nice touch – Khan forced to plead with Vidya “please help me”)
  • Pal, the informer warns Rana that Damji is back in the city and will kill Vidya. (didn’t see the point of this bit of information. Audience knows Vidya is in mortal danger). 1.38 hrs
  • “Upping the ante” as they say! Rana begs Khan to call off operation as Vidya’s life is in danger. Khan locks him up. Mocks him – don’t love the wrong person. 1.39 hrs.
  • Pre-climax: Vidya wears red-white sari. She breaks down. 1.40 hrs. Bishu quietly leaves his transistor behind for Vidya
  • Countdown to denouement: Rana escapes (OC helps him). Rushes to Mona Lisa hotel. Told Vidya has checked out. Notices something about Bishu (we still don’t know what)
  • Montage of Durga Puja at Triangular Park. POV of Vidya as she looks at the sea of faces around her trying to guess who might be Milan Damji
  • Shindoor khela: set up for Vidya’s final escape – climax
  • Scene 183 – 185: Milan Damji – jo ab take k kahaani tha. CLIMAX – Milan is killed by Vidya

•    Scene 187: 3 mins –    Denouement 1.50 hrs: Arnab’s school is actually Bishnu’s school; she used to regularly dust her room; She never signed – first time at police station when she was asked to sign missing report, she fainted; at Mona Lisa hotel she refused to sign because register was tattered; She killed Sriharan before IB could get to him; She knew as Khan himself would say, no one would suspect a pregnant woman searching for her missing husband

• Scene 190: Flashbacks. Pyrrhic victory: Vidya realises she had truly started believing she was pregnant and that she would find her husband. 1.53 hrs

• Scenes 191 – 193: Bhaskaran arrested. 1.56 hrs

  • Voice over – Goddess Durga comes to vanquish evil and then leaves; Candlelight remembrances

Notes:

•  Scenes 84 – 87: Deleted

– Vidya meets Rana at his home. This scene is replaced by a scene in front of Kalighat Police station. Vidya sees women in red border sarees going to Kalighat temple and remembers her conversation with Arnab.

– The change of location works – more colour. Also, home would have been too intimate. Would have struck a wrong note – why should Vidya visit him at his home?

IMPORTANT: missing from script – Rana says Milan Damji does not exist. He is just a kahaani

And some additional notes I made

  1. The plot moves because Vidya is pregnant – leading to disclosures. OC says husband got her pregnant and is absconding. IB – Khan reiterates the same. Emphasis on her as a victim of a domestic case. No one takes her missing file report seriously. Rana is of course chivalrous and concerned.
  2. Fun side of Vidya, making her endearing. Our empathy increases: Teases Bishnu about his radio; Gentle with Poltu; Mocks Rana. About his name. Mocks him when she makes him pick locks, twice (Data Centre Office; Damji’s house); Kicks him in tram.
  3. Rana’s growing attraction towards Vidya. Very economically dealt with. No dialogues: Concerned. Caring. Always worried she might hurt herself as she bends down, climbs stairs. Holds her hand. Intrigued, charmed by her playful side when she deliberately kicks him in the tram. Admires her tenacity. Admires her knack with children. Glowingly praises her maternal instinct.  When Vidya bends over him as she checks computer records – he is acutely conscious of his attraction towards her. When Vidya gets to know from Khan that she is being used as a bait she is appalled. Asks – her life, her child’s life was at threat. Immediately Rana says nothing would have happened to her – because he had taken up the case solely to ensure she was safe. Khan gives an amused, meaningful glance at Rana. He knows Rana has fallen for Vidya. Gifts her a sari, on behalf of Arnab. Genuinely cares for her.
  4. Detailing in sets:  (a) Calender of Sri Ramkrishna in Kalighat Police station (b) Trinamool Congress emblems on walls of North Kolkata when Vidya goes to locate Milan Damji’s house (c) Aalna or clothes stand typical of a Bengali house in hotel room
  5. RD Burman influence: Songs being played on radio in several street sequences; Song played on car radio when Sridhar realises his computer is being backed is Lekar hum deewana dil.

(For more posts by Deepanjali, you can check her blog here)

Lootera

The man behind one of the best debuts films in recent times Udaan, Vikramaditya Motwane is back with a new film titled Lootera starring Ranveer Singh and Sonakshi Sinha. And as the latest trend in bollywood goes, the first look of the film is just a teaser and not the full trailer.

The teaser doesn’t tell you much about the film but just gives you a sense of the place and the mood of the film. But close your eyes and watch the teaser again – i think it’s the music. Old world charm, silent glances, character introductions and then those last 30 seconds where it kicks in – snow, gun, letters, light, fire and dhickiyoon, credits and the hero limping on snow! Now, give me the full trailer.

This completely stands out from the garbage that Bollywood is churning out these days. There’s so much silence, and most importantly, there’s NO FUCKING TEXT on screen to explain it. But this also seems to be from school of Sanjay Leela Bhansali. Just hope that it’s less grand, less manipulative and more intimate.

The credit list seems to be the same as that of Udaan. DoP is Mahendra Shetty. Screenplay by Vikramaditya Motwane and Bhavani Iyer. Dialogues – Anurag Kashyap. Music – Amit Trivedi. Lyrics – Amitabh Bhattacharya.

Though the makers have been saying it publicly that it’s inspired/based on O Henry’s short The Last Leaf, why isn’t it mentioned in the credit plate?

The first trailer of Vishal Bhardwaj’s new film Matru Ki Bijlee Ka Mandola is out. The film stars Imran Khan, Anushka Sharma, Pankaj Kapoor and Shabana Azmi.

Now, this looks like Entertainment, Entertianment, Entertainment. (Ok, blame that overdose on Vidya Balan) It surely looks like great fun – mad characters, rustic setting, colourful elements and dhinchak music.

But what is it about? It says almost nothing.

If it’s a Vishal Bhardwaj, it just can’t be boy-meets-girl, right? Some of us have read the script and the same two words comes to mind again – great fun. Only issue is the hotchpotch climax.

We can also tell you that there is a serious political issue in it but the trailer has masked it completely. Because they want your bums on the seats in the first weekend itself.

So see the trailer again. And see if can you connect the dots and guess the basic plot.

UPDATE – 21/04/2011

The original trailer of Shaitan is finally out. And it looks gorgeous! Check out.

The first trailer of Anurag Kashyap’s production Shaitan is out. Though Anurag  claims that this is not the final one, it’s been leaked out and even the font is different in the final trailer.

The film is directed by debutant Bijoy Nambiar and stars Rajeev Khandelwal and Kalki Koechlin in the lead.

Tip – Mihir Fadnavis

UPDATE

The official synopsis and the first poster of the film is also out. To quote…

The story is about Amy – Amrita Mathur. She is a 17 year old and has all the teenage angst and rebel attitude that go with that age. Amy makes some new friends in Bombay- the ultra rich KC and gang. One night of living on the edge ends up with them brushing against the law. A cop blackmails them to cover up the case. In order to pay up Amy stages her own kidnap with help from KC and gang. A simple plan which goes completely haywire forms the rest of the story. Intertwined with this we have a story of a cop – Tavde; who is put on the case to track Amy and the others. The cop is forced to deal with a personal crisis while he is on the case. How he manages to resolve it and simultaneously crack the case carries the story forward.

Paanch REDUX?

Thanks to the good soul who mailed us the (un)official synopsis of Life Of Pi. The film is directed by Ang Lee and is based on Yann Martel’s novel of the same name. It has Irrfan Khan (Older Pi), Tabu (Pi’s mother), debutant Suraj Sharma (Piscine Molitor ‘Pi’ Patel) and Adil Hussain (Pi’s father) in lead roles. It’s scheduled to release in 2012 and will be in 3D.

And here is the synopis…

PISCINE “PI” PATEL (54) was born in India but now lives in Montreal. Though he loves Canada, he misses the heat of his native country. He is still a bit traumatized by the memory of being abandoned by RICHARD PARKER when he was 12.

Pi’s father studied zoology in Paris which is where he met Pi’s mother. An avid swimmer, Pi’s father taught Pi how to swim when he was seven. His father worked as the director of the Pondicherry Zoo in Madras. Pi grew up around the animals, learning to love each of theirs unique and sometimes amusing idiosyncrasies.

In school, Pi earned the unfortunate nickname of “pissing Patel”. When he entered middle school, he took the moniker Pi and was thankfully never teased again.

In 1964, over the objections of his mother, Pi’s father took Pi and his cousin RAVI to the tiger cage to watch it kill a goat. It was a lesson to teach them to fear the big cats. They may look fluffy and cuddly but they are ferocious animals.

Pi became interested in Catholicism. He would visit the local church and talk to the PRIEST about his religion. Pi was raised as a Hindu and would go to temple to question the PANDIT about his philosophy. Pi also would go to the mosque to ask the IMAM about his religion. Pi was fascinated by all three religions and considered himself a member of each. It never proved a problem until one day when he was walking with his parents and encountered the priest, pandit and imam. Each declared Pi a member of their congregation and got into a fight when the others made the same claim.

When the owner of the zoo, the MAHARAJAH died, his SON took control of his holdings. He decided to raze the zoo and replace it with a golf course. Pi’s father hoped he could change the Maharajah’s son’s mind by acquiring a lion for the zoo. He took Pi with him when he went to a circus to look for a lion to buy. While he negotiated a deal with the circus owner, Pi met the LION TAMER. He took the boy into the cage with him and showed him how he controlled the animals. The most important thing he taught Pi was never to show fear and to always be in command. Pi’s father was unable to make a deal with the circus owner and they left empty-handed.

With the zoo closing, Pi’s father got a job with the Canadian zoo which purchased all of the animals. They were loaded onto a boat along with Pi and his family. While on the cruise to their new home, Pi helped to feed the animals.

Pi was awakened one night to find his room flooding. The ship was sinking. The sailors freed most of the animals, giving them a chance on the open sea rather than drown on the boat. Unable to find his parents, Pi was taken topside by a sailor who threw him into the ocean. Pi swam to the nearest lifeboat, climbed aboard and watched the ship go down. That’s when he noticed that he wasn’t alone on the lifeboat. He shared it with a zebra, peacock and a hyena. Pi never saw his parents again.

Pi saw a tiger named Richard Parker clinging to a piece of driftwood nearby. It got that name from the Brit who found the orphaned cub that was then given to the zoo.

Pi is telling the story from his hospital bed to MR. OKAMATO and MR. CHIBA, investigators from the insurance company who were questioning him about why the boat sunk. Besides the two Japanese, there were a few nurses and orderlies also listening to Pi’s fascinating tale.

Pi then saw a hand grab the edge of the lifeboat. It belonged to a female orangutan who pulled herself into the boat. After a couple of days and getting hungry, the hyena moved to attack the zebra. Pi tried to fend it off with an oar but couldn’t stop the starving animal. It attacked the zebra who panicked and fell out of the boat. Thwarted, the hyena then turned and attacked the orangutan, killing it. That’s when the tiger reappeared, jumped into the boat and killed the hyena. Pi escaped the boat after making a raft from oars and life preservers. He stayed near the boat because it contained supplies that he might need.

As Pi continued his tale, his hospital room began to be filled with more patients and staff who were hanging on every word he said.

As the days continued, Pi remembered the things he learned from the lion tamer. Using a fishing hook he found in the survival kit on the lifeboat, Pi began catching fish to feed himself and the tiger. He would clean the fish by using one of the tiger’s discarded claws. In time, they formed an unlikely truce. The tiger wouldn’t eat Pi as long as he continued to feed him. When Pi got the chance, he would also feed on sea turtles and sea birds that he would encounter. Pi would keep track of the days by making notches on an oar. He would eventually make a total of 137 notches.

Pi woke up one morning to find that his boat had reached an island. The tiger jumped out and ran into the jungle. Pi began to investigate himself before passing out from exhaustion. He woke up to find his hands and feet bound. The sailor from the ship was also on the island. The sailor was apologizing for his what he was about to do – eat Pi. Before he got the chance though, he was attacked and killed by the tiger. Pi jumped back in his boat and began to paddle away but then felt guilty about leaving the tiger, so he used a whistle he had found to call the big beast. It came running (carrying the sailor’s arm in his mouth) and jumped back in the boat.

Some time later, the boat washed up on the beaches of Mexico. The tiger leaped to the shore and disappeared into the woods. Pi was extremely saddened by the loss of his only friend. Pi was found by some locals and taken to the nearest hospital.

By now Pi’s audience had filled his room and spilled out into the hallway. When he finished his story, many of the listeners dabbed at the tears in their eyes. Some openly wept.

SPOILER

Mr. Okamato and Mr. Chiba expressed their doubts about the veracity of the story, finding it to be just too implausible. When they saw Pi’s eyes look downward, they thought they hit a nerve so they ushered everyone out of the room. Pi then told a simpler tale. He said when he reached the lifeboat, it held his mother and two sailors, one with a broken leg. After a few days out on sea, one of the sailors wanted to kill the injured one to eat. Rather than face that fate, he jumped into the ocean taking his chances with the sharks. The sailor then turned and killed Pi’s mother, stripping her flesh to hang and dry. When the sailor fell asleep, Pi killed him and later ate him. Mr. Okamato and Mr. Chiba are distressed by the story, feeling sorry for Pi having to witness his mother being killed and cannibalized. As they left the boy alone, they remarked how similar his two tales were, marveling how the young man’s imagination had replaced humans with animals. They figured the hyena was one sailor, the zebra was the injured sailor and the orangutan was Pi’s mother. Who then was the tiger? Well, Pi of course.

SPOILER ENDS

Years later, Pi is living in Montreal. He returns to his apartment. Pi still has the tiger’s claw.

The first look of Rohan Sippy’s new film Dum Maaro Dum is out. It stars Abhishek Bachchan, Bipasha Basu and Rana Daggubati. Prateik is credited as Special Appearance in the teaser. It’s written by Shridhar Raghavan, shot by Amit Roy and has Pritam’s Music. Check it out.

And here is the official synopsis….

Goa. Paradise on Earth. But every Paradise has a few snakes.

Multiple lives collide brutally one day at Goa Airport… and change forever.

Prateik Babbar: Lorry
A student on the verge of following his girlfriend to a US University. But when his scholarship gets rejected, his life threatens to spiral out of control, until he meets a smooth talking hustler who promises to get it back on track. For a small price. His soul.

Abhishek Bachchan: ACP Vishnu Kamath
A self destructive cop fleeing his own past, Kamath is given the job of destroying the brutal local and international drug mafia in Goa. As he begins his ruthless, relentless campaign and takes on the murky drug world… he discovers nothing is what it seems.

Rana Daggubati: DJ Joki
A local musician and mute spectator to what is happening around him, Joki drifts aimlessly through life after an encounter with the drug mafia cost him everything he held dear. Today he discovers history has a nasty habit of repeating itself. Will he finally have the guts to take a stand?

Bipasha Basu: Zoe
An aspiring airhostess who saw her dreams turn to dust, Zoey in a way represents Goa itself. A child of the hippy generation, a mix of local and foreign culture, innocence and beauty have gradually been replaced by cynicism and abuse.

Aditya Pancholi: Lorsa Biscuta aka the Biscuit
A ruthless local businessman, the Biscuit has his finger in every Goan pie, legal or illegal. The point person between all the various Mafias operating in Goa, the Biscuit finds himself pushed to the extreme limit with Kamath’s arrival. But he knows who to turn to:

A mysterious shadow
The ultimate drug kingpin. Many names, many identities but no one knows who he is….

We hurtle into the bylanes, beach shacks and raves of Goa with Lorry as his life spirals out of control, with Joki as he tries to redeem the past and with Kamath as he goes no-holds-barred after the mysterious shadow figure behind it all…

Punctuated with a soundtrack that moves from pulsating dance tracks to haunting Konkani songs, shot right in the midst of the teeming international tourist hotspots, Dum Maaro Dum takes you on a dramatic, thrilling trip filled with twists, turns, suspense… and a shocking finale!