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She’s a wife, a lover, a journalist, an apprentice, a singer, a kathak dancer, a rebel, and a saviour. Roop as a character needed her thoughts to be articulated because she’s so much- but not enough of anything.
Review of kalank movie movie#
And it is not just because of Alia Bhatt‘s inability to evoke emotions through silences and gazes.Īlso Read: Kalank – Movie Review, Trailer, Interviews and More Roop’s long silences, and deep gazes demand articulation. The two timelines- one where Roop is experiencing, and the other when Roop is articulating- is always an interesting cinematic device to study. The vision, though, is admirable- think rich textured fabrics, tall towering structures with chalk blue walls, mosques, city squares, palaces, deserts, love that can only be expressed but never manifested, respect that begins to slowly, steadily think of itself as love, sadness that breeds bastards, and throbbing loneliness, love that is selfless, love that is possessed, love that is cursed, love that is bygone, love … This film feels like a compromise between layered, nuanced characters, and a run-time that is consumable by today’s standards- and therein lies its doom. It tries to be luxurious, but its luxury is so contrived, it creates discomfort- you are never able to surrender to the vision. It eludes geography, yet places itself among real cities facing real problems. It seeks to be timeless, but roots itself in a time-period that to Indians and Pakistanis reeks of memories, anger, sadness, and nostalgia. Abhishek Varman’s second film, Kalank, is a beautiful but excessive irony.