Status: Coming Soon Upload 🤗 Released: 2015 Genre: Comedy, Romance Description: When Ji Sung-Joon was young, he was ugly. As he grew up, he began to have an attractive appearance. When Kim Hye-Jin was young, she was pretty. As she grew up, she became ugly. Ji Sung-Joon tries to find his first love.

Memories of the Alhambra tells the unique and suspenseful love story of Yoo Jin Woo and Jung Hee Joo. Strong spirited Yoo Jin Woo is the CEO of an investment company with a degree in engineering and a knack for developing video games. He has an adventurous and competitive spirit. Suffering after his best friend betrays him, he takes a business trip to Granada, Spain in search of the mysterious inventor of an innovative augmented-reality video game. He ends up at a hostel that Jung Hee Joo owns. Hee Joo is a former classical guitarist who came to Spain to further her studies. After the death of her parents, she takes on various jobs to support herself, including running the old hostel . They are both drawn into a series of strange and unexpected events. Memories of the Alhambra EPISODE : Watch full episodes of Memories of the Alhambra with subtitle in English VIEW MORE EPISODES : 📂 Episode 01 📂 Episode 02 📂Episode 03 📂 Episode 04 📂 Episode 05 📂 Episode 06 📂Episode 07 📂 Episode 08 📂 Episode 09 📂 Episode 10 📂Episode 11 📂 Episode 12 📂 Episode 13 📂 Episode 14 📂Episode 15 📂 Episode 16

Memories of the Alhambra tells the unique and suspenseful love story of Yoo Jin Woo and Jung Hee Joo. Strong spirited Yoo Jin Woo is the CEO of an investment company with a degree in engineering and a knack for developing video games. He has an adventurous and competitive spirit. Suffering after his best friend betrays him, he takes a business trip to Granada, Spain in search of the mysterious inventor of an innovative augmented-reality video game. He ends up at a hostel that Jung Hee Joo owns. Hee Joo is a former classical guitarist who came to Spain to further her studies. After the death of her parents, she takes on various jobs to support herself, including running the old hostel . They are both drawn into a series of strange and unexpected events. Memories of the Alhambra EPISODE : Watch full episodes of Memories of the Alhambra with subtitle in English VIEW MORE EPISODES : 📂 Episode 01 📂 Episode 02 📂Episode 03 📂 Episode 04 📂 Episode 05 📂 Episode 06 📂Episode 07 📂 Episode 08 📂 Episode 09 📂 Episode 10 📂Episode 11 📂 Episode 12 📂 Episode 13 📂 Episode 14 📂Episode 15 📂 Episode 16

The makers of Master said that releasing the Vijay-starrer in theatres is crucial for the revival of the film industry, which has suffered an unprecedented loss due to the pandemic. Amid growing speculation over Vijay’s Master releasing directly on an OTT platform, the producers issued a statement on Saturday to put an end to all the rumours. The makers said that releasing Master in theatres is crucial for the revival of the film industry, which has suffered an unprecedented loss due to the pandemic. “As we continue to battle the pandemic, we hope you are all safe and doing fine. We understand and can feel the amount of excitement among the audience to celebrate our #Master in theatres. We await the Big Day to come, as much as you do. With lot of rumours surfacing in the past few days, we would like to clarify our stand on it. Though we have an offer from a reputed OTT service provider, we prefer to the theatrical release, which is the need of the hour for the industry to survive the on-going crisis. We also request the theatre owners to stand with us and provide their support for reviving the Tamil Film Industry. We hope to reach out to you soon, with the good news. Stay safe,” said Xavier Britto of XB Film Creators in the statement. The release of Master was postponed following the outbreak of coronavirus. There was a strong sentiment in the film industry that the producers might opt for an OTT release owing to the on-going situation. However, the filmmakers remained determined to wait until some semblance of normalcy returned to the business of film exhibition. At present, theatres across the country are allowed to operate at 50 per cent seating capacity. This arrangement is expected to continue for the foreseeable future. And industry stakeholders hope Master rekindles the public’s interest in watching movies on the big screen. Master is directed by Lokesh Kanagaraj. Besides Vijay, it also stars Vijay Sethupathi, Malavika Mohanan and Arjun Das among others.

Class of 83 review: Though we’ve seen so many iterations of the gangsters vs honest law enforcers in the movies, there’s always room for another. Class of ’83 movie cast: Bobby Deol, Joy Sengupta, Vishwajeet Pradhan, Anup Soni, Bhupendra Jadawat, Sameer Paranjape, Ninad Mahajani, Prithvik Pratap, Hitesh Bhojraj, Ravi Singh Class of ’83 movie director: Atul Sabharwal Class of ’83 movie rating: Three stars There’s something to be said about basing a film, featuring rookie cops and their wearied, worn, but still straight-of-spine mentor, on a book of the same name by an author who is thoroughly conversant with the milieu. S Hussain Zaidi has had long years of reporting and writing on real-life crime and gang-warfare in Mumbai. Many of his volumes have been adapted by Bollywood, notably Black Friday, which focussed on the run-up and tumultuous fall-out of the 1993 Bombay blasts, and was made by Anurag Kashyap into India’s best docu-feature. This latest, Class of ‘83 goes back a decade, when Bombay was going through a huge churn. Cotton mills and their ‘mazdoors’ were being ground to the dust through a combination of political skulduggery and powerful real-estate sharks with an eye on the vast spaces, in the heart of the city, which housed the mills. There was illicit money to be made, an endless stream of it, through smuggling of gold, counterfeit currency, drugs, arms, and property. And fighting over the spoils were the various gangs of Bombay, whose only opposition came from an increasingly shrinking slice of the police force which still believed in law and order. The film opens in 1982, when Vijay Singh (Deol) fetches up on a punishment posting at Nashik’s police training academy. Smarting from the double blow of a personal tragedy and a professional setback, the reluctant dean’s attention is caught by five ‘back-benchers’, Surve, Jadhav, Shukla, Varde and Aslam, with the requisite degree of smarts, loyalty, and a streak of independence. This class of ’83, moving from being wet-behind-the-ears cadets to quick-on-the-uptake-cops on the ground in Bombay, swiftly earns fame as being honest and hard-hitting. As swiftly, they become thorns in the side of corrupt cops as well as greedy ‘netas’, especially CM Manohar Patkar (Soni), and begin themselves being buffeted by the allure of filthy lucre. Easy money and murk goes hand-in-hand, and even the most righteous cops are human. Though the film is fiction, its thinly-veiled allusions to real-life characters and events make it gritty and realistic, characteristic of Zaidi’s fiction, which is ably translated on screen by Sabharwal. There’s mention of the escalating Punjab terrorism and the AK47s which were finding their way to Mumbai; there’s also mention of Datta Samant and the struggle of the millworkers and the unions. Alongside, we hear of the ‘Naik and the Kalsekar’ gang, and Dubai emerging as a favourite mob hotspot: this is the backdrop in which the class of ‘83 operates, and the treatment—carefully muted background music, smartly executed action, and unshowy acts—makes it hard to separate fact from fiction. This strong sense of realism, and of time and place, colours the film: the patina is ochre-yellow, of the past, and the shootouts on the streets remind you of the 80s Bombay. The performances match up. Deol gets a hero’s entry, and is shaky in a few places, but on the whole manages to pull off his greying lion role, the unflinching moral centre of the film. Smartly surrounding him is a terrific ensemble cast, toplined by Joy Sengupta as DGP Raghav Desai whose scenes with Deol make the latter look good, Vishwajeet Pradhan as a bull-throated instructor at the academy (hear him chew out hapless recruits after their shooting test, and rejoice), and Anup Soni as the politician who knows how to play the game, and who really should be seen in movies more often. The young cadets turned officers are all credible too, except I wished there was just a little more detail to each of them: one is given a terrific Dirty Harry joke, another a nifty yet not overly-dramatised chase, and they have joint outings where they engage in spiky banter and, occasionally, high-pitched skirmishes. A little more would have filled out this bunch, and the film. Still, Class of ‘83 works both as a well-realised if a trifle sketchy hark-back at an interesting epoch, as well as an entertainer. Though we’ve seen so many iterations of the gangsters vs honest law enforcers in the movies, there’s always room for another. Especially because we need stories of cops who believe in their motto of ‘protect the good and destroy the evil’, today more than ever. Class of ’83 is streaming on Netflix.

It’s tough to make an issue-based film without being pedantic, or prescriptive. More nuance and delicacy in showing up both flaws and merits of the characters and their struggles would have made this important film, whose heart is firmly in the right place, lighter on its feet. Mee Raqsam movie cast: Naseeruddin Shah, Danish Hussain, Aditi Subedi, Rakesh Chaturvedi Om. Shraddha Kaul, Farrukh Jafar, Sudeepta Singh Mee Raqsam movie director: Baba Azmi Mee Raqsam movie rating: Two and a half stars Mee Raqsam (I Dance) is about a young motherless Muslim girl whose desire to learn Bharatnatyam causes ripples both in her conservative community, as well as those who live on the ‘other side of the village’. Written and directed by Baba Azmi, and presented by sister Shabana, the film is a tribute to their great father Kaifi Azmi. The subject is a worthy one: any film which brings up India’s sadly receding tradition of ‘ganga jamuni tehzeeb’ needs to be celebrated. It also touches upon class differences, the confined, circumscribed spaces and behaviour spelled out for women, and the deep rifts caused by bigots: whether you are Hindu or Muslim, prejudice is poisonous. The framework is fine. Filmed on location in Mijwan, UP, we get a sense of time both going forward and holding still in mofussil India. A skilled tailor (Husain), ostracised by his ‘quam’ for his staunch support to his 15-year-old daughter Maryam (Subedi) and her life-affirming passion for classical dance, has a future in ‘designer clothes’. Maryam’s aunt and grandma (Kaul and Jafar), as well as a domineering elder (Naseer) represent the graven-in-stone beliefs of Muslims; a sour-faced patron of the local ‘natya-shala’ (Om) stands for the Hindus who believe there should be no truck between the communities. These worthies are given pause by the bright-eyed Bharatnatyam teacher who encourages and helps Maryam, as well as a young Hindu girl who befriends Maryam. These pushes and pulls of crippling traditionalism vs modernity, and their impact on individuals, plays out in the heart-warming interactions between the father-daughter pair of Hussain and Subedi, both excellent. The former usually gets bit parts in movies; this one gives him space to flex his wings, and the result is pleasing. This is a father all young women should hope for. What mars the film is the obviousness and the repetition when its chief issue is addressed. Consternation around ‘Ek Muslim/Mohammedan ladki hotey huey naach-gaana’ comes up repeatedly, as does mention of ‘Devdasiyon ka naach’ and ‘but-parasti’.‘Tawaayaif banaane ka irada hai?,’ goes Maryam’s loving-but-stern ‘khala’. A sequence in which Hussain explains, in all seriousness, to his ‘beti’ about how a male classmate’s ‘chidaana’ could be an expression of interest, is problematic. It’s tough to make an issue-based film without being pedantic, or prescriptive. More nuance and delicacy in showing up both flaws and merits of the characters and their struggles would have made this important film, whose heart is firmly in the right place, lighter on its feet. Mee Raqsam is streaming on ZEE5.

Let Him Go (R16, 114 mins) Directed by Thomas Bezucha **** The casting of a film can bring with it a quite unearned emotional freight. The last time we saw Diane Lane and Kevin Costner playing a married couple, raising a handsome young man in rural North America, the film was 2013's Man of Steel, and their adopted son was Clark Kent, known to you and me as the indestructible Superman. So when we see Lane and Costner's son, early in Let Him Go, laying broken-necked and irreversibly dead after an off-screen fall from his horse, it brings with it a creeping, whispering possibility that, whatever story is about to be unfurled here, there is no certainty that the good guys will win in the end. Lane and Costner are Margaret and George Blackledge. The year is 1963 and the place is rural Montana. Son James was married and the father of an infant son. When his widow Lorna remarries, Margaret and George are at the wedding, happy that their grandson Jimmy will be a part of a new family. But that family are a fearsome clan of criminals and bullies living well outside the law. Fearing for Jimmy's safety, the couple drive the hundreds of miles to the Weboy's homestead in North Dakota, hoping to bring Jimmy and maybe Lorna home with them. Nothing good ensues. Let Him Go is a savage and, at times, brutal film. Moments buried within the quietness and poignancy of the opening scenes might well telegraph some of the hell that is waiting for Margaret and George across the state line, but it was only after the film that I started to think about any of the markers that director Thomas Bezucha (The Family Stone) had maybe put down. Before that, I guess I was too busy being entranced by the work that Lane, Costner and cinematographer Guy Godfree do here, making gruff poetry out of Bezucha's lean script. And then being basically terrified by Lesley Manville, tearing up the screen as Blanche, the monstrous Weboy matriarch. Let Him Go is mostly terrific. The stunning landscapes, hot spikes of sudden violence and the lyricism of what passes unsaid between the leads, combine into an unsettling and engrossing whole. Recommended.

Andhaghaaram movie review: The film has a complex story structure looping from one point to another in no particular format. The film weaves multiple plots into one interlocking narrative. Andhaghaaram movie cast: Arjun Das, Vinoth Kishan Andhaghaaram movie director: V Vignarajan Andhaghaaram movie ratings: 4.5 stars Director V Vignarajan’s film Andhaghaaram unfolds like a Dan Brown novel. It draws you into the narration with the promise of revealing an earth-shattering secret, and you take the bait. As you go deeper, you get more such promises of a major revelation coming right up the next corner until you realize, you were travelling with the secret all along. The movie begins with a sequence of people doing some horrible things. One of the patients of Dr Indrans (Kumar Natarajan), a renowned psychologist, pulls the trigger on the doctor. Indrans survives the attack but he loses his ability to speak but finds his voice again with the help of a speaking aid. And then, there is a blind librarian named Selvam. He is a kind-hearted working-class bloke, who goes about the day by helping other people to locate books at a government-run library. Well, there is more to him than meets the eye. He is also a ‘medium.’ In other words, he is a courier between the dead and the alive. It is his part-time gig, something that he inherited from his father, who is also dead. Now, he has no one, except for his father’s brother, who is living under a different identity for the reasons unsaid. Then we meet Vinod (Arjun Das), a cricket coach, a tormented soul. We don’t learn anything about him as a person, except he has an ever-nagging girlfriend, who seemingly shares no intimacy or real concern about his well-being. She is always dismissive of his problems. No wonder, she is not the one Vinod would call in the time of an emergency. Of course, there is a thread that connects all three of them. To be precise, it is a phone line that connects all three of them. And Vignarajan takes us through the corridors of voodoo magic, greed, repent and some fancy clinical psychological terms and tricks in this 2 hours 51 minutes long movie before we find out how and why. Andhaghaaram has a complex story structure looping from one point to another in no particular format. The film weaves multiple plots into one interlocking narrative. It is an exercise in narrative style and plot structure, which is something similar to director Thiagarajan Kumararaja’s masterpiece Super Deluxe. However, Vignarajan doesn’t achieve the same effect in terms of clarity. Andhaghaaram feels a bit rushed. The ease and clarity with which Vignarajan moves the story forward from the beginning disappears towards the end. It feels overwhelming with the deluge of revelations that Vignarajan dumps on the audience making it difficult for the audience to keep with what’s happening. But, Andhaghaaram is still a good attempt, given the complexity of its concept.

As the eponymous Anwar, Nawazuddin Siddiqui is practically in every frame. But soon you realise why Anwar Ka Ajab Kissa never managed a release: the intent is intriguing, but the execution is choppy, and the result, underwhelming. Anwar Ka Ajab Kissa movie cast: Nawazuddin Siddiqui, Ananya Chatterjee, Makrand Brahme, Farrukh Jafar, Niharika Singh, Pankaj Tripathi Anwar Ka Ajab Kissa movie director: Buddhadeb Dasgupta Anwar Ka Ajab Kissa movie rating: Two stars Many of Buddhadeb Dasgupta’s characters, especially the principal ones, are on a quest. Sometimes, they walk purposefully, other times they wander. They are to be seen in different locations, in the city and in rural areas, making their way across crowded streets and open landscapes, meeting different people in different time zones: he makes the kind of immersive cinema that requires you to pay attention to small details. Anwar Ka Ajab Kissa, a 2013 film starring Nawazuddin, one of Dasgupta’s occasional Hindi outings, has just begun streaming on Eros Now. It’s about a man in search of himself, a theme the director keeps returning to. As the eponymous Anwar who appears to earn a tenuous living by spying on people, Nawaz is practically in every frame. But soon you realise why this film never managed a release: the intent is intriguing—how a man who goes about uncovering people’s dirty secrets can be so unaware about who he is—but the execution is choppy, and the result, underwhelming. Anwar’s detective is the exact opposite of someone who needs to blend into the environment so as to not draw attention to himself. He wears a hat and dark glasses, and prances in and out of crumbling houses where clandestine lovers meet, gathering information at the behest of suspicious family members who fetch up at the agency he works with. The characters he bumps into are meant to be picaresque: an old woman (Jaffar) who lives in her head, a man who secretly loves another man, a pretty neighbour who gently stalks him, as Anwar himself passes lonely nights talking to his dog. Out of the blue, a woman accosts him as he finds himself on a deserted hillock. A man (Tripathi) whom Anwar seems to know also appears out of nowhere: does he exist, or is he a figment of the imagination? The film looks like it has been yanked out of oblivion because Nawaz and Tripathi are now saleable names. There are only momentary patches in which you recognise Dasgupta’s distinctive signature, this medley of characters, and a mix of the real and the bizarre.

Nayanthara looks regal, but it is not enough, as she takes her character too seriously. The main problem with Mookuthi Amman is that it suffers from an identity crisis. Mookuthi Amman movie cast: Nayanthara, RJ Balaji, Urvashi Mookuthi Amman movie director: RJ Balaji, NJ Saravanan Mookuthi Amman movie ratings: 2.5 stars The 1990s saw a stream of Amman movies. When RJ Balaji announced Mookuthi Amman, I assumed it would be a throwback to a VFX-heavy movie showing god performing a series of magic tricks while hunting down a bunch of bad guys. And I was not expecting a film where AP Nagarajan’s Thiruvilaiyadal meets V Shekar’s Kaalam Maari Pochu by way of Kodi Ramakrishna’s Ammoru. Mookuthi Amman is definitely a throwback to devotional movies that took the “god will pluck your eyes out if you lie” threat to a whole new level. And yet, Mookuthi Amman is also very different from the films that we grew up watching. While the earlier god-based movies perpetuated stereotypes and strengthened our fears about god, Mookuthi Amman does the opposite. In broad strokes, it shows the evils that will befall common people when they invest their faith in someone or something due to the fear of divine punishment. The film takes on religious dogmatism, a theme that was well handled in movies like OMG: Oh My God! and PK. Engels Ramasamy (RJ Balaji) is our hero. His name is the combination of two rationalist thinkers (Friedrich ‘Engels’ and Periyar EV ‘Ramasamy’), but he grows up to be a staunch god-fearing adult. While he believes in god, he does not believe in self-proclaimed godmen. And being a small-time reporter in a remote village in Tamil Nadu, he aspires to make it big in the media world by exposing Bhagavathi Baba (Ajay Ghosh), who has built an empire exploiting people’s spiritual sentiments. He is now in the process of acquiring vast swaths of land to establish a spiritual town, and that’s when he runs into Mookuthi Amman (Nayanthara). Balaji, who has also written and co-directed Mookuthi Amman, drops interesting storylines halfway through the movie. For example, Ramaswamy’s grandfather, played by Moulee, vanishes and appears. He is said to be a communist. Did he turn into a believer in god when he joined Mookuthi Amman’s mission to take down the fake godman? Balaji and Saravanan never care to answer. And we get to see very little of Mookuthi Amman’s miracles. And it is a big bummer. Nayanthara looks regal, but it is not enough, as she takes her character too seriously. The main problem with this film is that it suffers from an identity crisis. It can’t decide whether it wants to be a spoof or a serious movie. And that muddles the plot to a great extent. Mookuthi Amman also does a good job of putting certain things in perspective. Especially, how spirituality is exploited to build big business empires. The stretch capturing the dramatic agony stemming from a middle-class family’s lack of progress also strikes a chord. And Urvashi as Ramaswamy’s doting mother hits the ball out of the park. There is not a single dull moment in Mookuthi Amman even when things don’t add up in terms of logic or continuity. And it is one of the redeeming qualities of Mookuthi Amman.

It’s not just the wonderful Manoj Bajpayee who so rarely gets to do a light-hearted caper that the film does injustice to, even the seasoned Annu Kapoor and Supriya Pilgaonkar, and Manoj and Seema Pahwa, are wasted. Suraj Pe Mangal Bhari movie cast: Manoj Bajpayee, Diljit Dosanjh, Fatima Sana Shaikh, Annu Kapoor, Manoj Pahwa, Seema Pahwa, Vijay Raaz, Supriya Pilgaonkar Suraj Pe Mangal Bhari movie director: Abhishek Sharma Suraj Pe Mangal Bhari movie rating: One and a half stars The film opens in 1995, when Mumbai was still Bombay. Why? Stays unclear through the film. Suraj Singh Dhillon (Dosanjh), son of a prosperous dairy farm owner, is in search of a good girl who will stay mainly in the ‘kitchen and bedroom’. What, really? Yes, really. Madhu Mangal Rane (Bajpayee) is a disguise-loving detective who, in the guise of checking out grooms for the parents of anxious brides, goes around killing all prospects of holy matrimony. Why? Long wait for that answer, pal, and meanwhile there’s this loud, unfunny film to sit through. Setting up a clash between ‘doodh-wala bhaiyaa’ who hasn’t bothered to learn Marathi, and a pukka Marathi manoos, must have been funny on paper. But almost nothing in the way this plays out is a funny-bone tickler. When Mangal discovers that his doe-eyed younger sister (Shaikh) likes Suraj, he dials up his wicked plans: so what if his own behen’s happiness is at stake when it comes to putting down yet another to-be-groom? Is the film meant to be a social commentary on the tensions between north Indian ‘interlopers’ and Bombay locals? The hostility was real, and still exists. But are we meant to laugh when it is alluded to in this clunky manner? So many good artists are laid to waste in the process: it’s not just the wonderful Bajpayee who so rarely gets to do a light-hearted caper that the film does injustice to, even the seasoned Kapoor and Pilgaonkar, and Manoj and Seema, are wasted. Somewhere in there is an attempt to stand up for women who want to do their own thing. Shaikh wants to be a DJ, but has to hide the fact. Why? Because DJs work in night spots where there is drink and dancing? Who writes this stuff? And why are we watching this in 2020?

Sir movie review: Sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years. Sir movie cast: Tillotama Shome, Vivek Gomber, Geetanjali Kulkarni, Rahul Vohra, Anupriya Goenka, Chandrachur Rai Sir movie director: Rohena Gera Sir movie rating: Three stars Even in a plush high-rise in Mumbai, a megacity presumably without as many raised moralistic eyebrows as other places in India, the sharing of space in the same flat between a single man and a ‘maid’, can set tongues wagging. In Rohena Gera’s Sir, it does come up, only to be swept aside swiftly and decisively by Ratna (Shome): she is here only to make a better life for herself, and for her family left behind in the village. With her salary, she’s helping her sister get an education, and the residue will someday help her fulfil her own dreams. It’s only when her employer, the recently single Ashwin (Gomber) starts to see her as a personable person, rather than just a convenient fixture, that the divide between class starts to blur. Is the blurring enough, though, for two people from such diverse backgrounds to come together romantically? How will an unsophisticated Marathi-speaking village girl, however dignified she may be, and Shome does a brilliant job of coming across as a young woman of immense dignity and self-respect, bridge that near-insurmountable divide that comes with wealth and privilege? How will it work with a man who uses English with his family and friends as the language of communication, dropping into stilted vernacular when instructing domestics, like so many of us urban types? Sir is an unusual, courageous traverse into unfamiliar, difficult territory, stepping in very carefully into the minefield which people like us have taken for granted for years. It’s only because Ashwin has lived a spell in the US that he is able to talk to Ratna with a degree of respect, unlike his pretty party pal (Goenka), who deals out a stinging, humiliating slap to the ‘servant’. For a film which is subtle in many of its notes, the bald use of the word ‘servant’, from Ratna’s mouth, serves as a double-edged sword: in the saying of it, she is acknowledging her own awareness of the chasm between them, as well our discomfiture at this unlikely couple. We start by seeing the two inhabit different spaces in the flat, she in her small ‘SQ’ (servant’s quarter) and the kitchen, he in the rest of the house. Slowly, as they begin drawing closer, they start sharing the same frame, tumbling rather too suddenly into intimacy. Some more time spent between the two, some more negotiating bends, and the relationship could have been built upon a bit more: I missed those in-between moments which take place between scrupulously observed distance, and the awareness between a man and a woman. Finally, a film like this, with its fairy-tale arc, depends on how much it can make us believe in the fact of an Ashwin and a Ratna finding lasting commonalities. The ugly real-life fact in India of all-powerful employers preying sexually upon domestics, and how these things can quickly become unsavoury jokes, is side-stepped by the fact of Ashwin being the kind of guy he is. You can see he is kind and compassionate, both qualities Gomber radiates well, and that his loneliness is being assuaged by this intelligent young woman. You can see the distance being bridged by both beginning to share little details of their day, slowly, awkwardly, but surely. And the fact that the film manages to do this, and create believable upstairs-downstairs characters without being patronizing, is nice: Geetanjali Kulkarni, as the ‘maid’ working in a neighbouring flat, and the only one Ratna can depend upon, is terrific. Will Ashwin and Ratna live happily ever after? Sir, out in theatres today, scores in being able to even pose such a question, with pleasing delicacy. As to the question, who knows what the morrow will bring, but we are all allowed to dream, aren’t we?