Drawing parallels between Flipkart’s work culture & all its endeavours in the business world Guneet shares, “ Zindagi inShort she is trying to harness this power. Popularly known for producing notable films such as Gangs of Wasseypur, Lunchbox and Masaan, Guneet talks about the ‘power and value in the space of incubation’ & how with Directors like Tahira Kashyap Khurrana, Punarvasu Naik, Vijayeta Kumar, Rakesh Sain, Gautam Govind Sharma, Smrutika Panigrahi, & Dr Vinay Chhawal are at the helm of seven awe-inspiring stories. A seven-part anthology, directed by seven Directors with unique voices. Zindagi Inshort is never short of breath, although some of the stories could have done with more thought and less action.It nonetheless is worth a dekko, if for no other reason then to see how far the short-film has come in Indian cinema.If you are on the lookout for the ideal series to watch on a lazy weekend, then your wait is finally over, and all thanks to Flipkart! India’s homegrown e-commerce marketplace, with its video platform, has joined hands with Guneet Monga, executive producer of Academy Award-winning documentary short film to present Interestingly we only see Bablu’s face on the screen, while the other characters are just limbs …A clever way to focus on the little protagonist’s perspective. Featuring a vulnerable sister and her protective kid brother in a town that seems to have been relocated from the Wild West to the Anarchic East, this one directed by Vinay Chhawal is an interesting juvenile’s take on eveteasing where little Bablu(Shafina Patel, with a killer smile) becomes the hero from his comicbooks to save his sister from Road Romeos. Just plain annoying in a very Anurag Kashyap kind of way. Swaaha directed by Smrutika Panigrahi, featuring the ever-dependable Deepak Dobriyal as a suspicious husband tailing his pretty wife(Isha Talwar) at his brother’s wedding, is the worst story of the bunch. Manoj Singh as the Sikh boy with a new passion and Aisha Ahmed as the Pakistani girl with a new smartphone try hard to look excited speaking to one another. There is little charm or tenderness in the online romance though Amristar is captured with some Tinder affection. But the message is largely lost in slipshod direction.Ĭhajju Ki Dahi Bhalla directed by Gautam Govind Sharma does to online dating what The Girl On The Train does to alcoholism. The story tries to say something about the abandoned elderly. The writing is clunky and that Parsi accent is worse than Farah Khan’s accent in Shirin Farhad Ki To Nikal Padi. Swaroop Sampat’s turn as a dementia-afflicted Parsi woman in Rakesh Sain’s Nano So Phobia is a big disappointment. This one is almost like a get-well-soon card in a short-film format. The dialogues sound like commercials for holiday tours and the performances including the central one by Rima Kallingal are way too crested. The third story Sunny Side Upar directed by Vijayeta Kumar set in a cancer hospital tries too hard to be buoyant and upbeat. She not only sleeps with her callous husband(Sanjay Kapoor)’s rakish partner (Jitin Gulati) she even uses that extra-marital affair to turn the tables on her husband in ways that are way too conveniently liberating.The story suffers from a surfeit of male-bashing but Ms Dutta’s performance is redemptive if not as liberating as the character’s swing-around from doormat to butterfly. This is one of the better stories of this anthology.ĭivya Dutta’s awakening in Sleeping Partner is far more startling. In Pinni Neena Gupta is in splendid form as a neglected matriarch whose skills at making laddoos are all she is recognized for by her near and dear(?) ones, until the moment of awakening which such stories of food feminism burst out with, like a kitchen stove suddenly on high flame.Ms Kashyap shoots most of the story on a slow-burn flame letting her actress lead the way. And why not? When you have Neena Gupta and Divya Dutta helming a story on brazen manbaiting, the endresult is a foregone conclusion. The first two stories Pinni directed by Tahira Kashyap and Sleeping Partner by Punarvasu Naik, feature the best leading performance. But some of this anthology did leave a little dent in my consciousness. I wasn’t quite cheering for them at the end of every story. There are 7 stories here, a majority of them with female protagonists standing at a decisive moment in their personal history. Here’s an anthology of short stories with an exaggerated sense of selfworth, an omni-‘fuss’ if you will, which largely works, though it fails at crucial moments.
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