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Scroll.in
7 days ago
- Entertainment
- Scroll.in
‘Maa' review: A feeble and dull battle between mothers and monsters
Forty years ago, a girl was born in a landlord's family in Chandarpur village in Bengal. The girl was immediately sent to her death – the landlord was steeped in Kali worship and believed that the girl infant must be sacrificed if Kali's adversary, the demigod Raktabeej, was to be vanquished. In the present, the landlord's son Shubhankar (Indraneil Sengupta) has a mysterious accident while visiting his ancestral mansion. Shubhankar and his wife Ambika (Kajol) have avoided visiting Chandarpur for years. They especially don't want to take their 12-year-old daughter Shweta (Jherin Sharma) there. Yet, here is Ambika and Shweta in Chandarpur, fulfilling the first rule of the horror film formula: the lead characters will walk resolutely towards peril, ignoring every warning sign. Ambika finds herself battling a manifestation of a demonic force that has ghastly designs on Shweta and the other girls in the village. The problem with Maa isn't Ambika's unreasonable actions – irrationality is a cornerstone of horror. Rather, the trouble with Vishal Furia's movie is how literal-minded and feeble it turns out to be. For a film about a potent and fierce goddess, Maa is a resolutely tame affair. Like Ambika, Maa too in constantly looking for miracles – a tough ask, given Saiwyn Quadras's plodding screenplay, a barely scary monster created with pedestrian visual effects, and clumsy links between Ambika's maternal instincts and Kali's divine powers. Furia's previous three films – the Marathi-language Lapachhapi, its Hindi remake Chhorii and the sequel Chhorii 2 – have all been about women trying to protect their daughters from malevolent beings who represent the very real horror of patriarchy. Furia is admirably dedicated to making pure horror films rather than follow the trend of horror comedies. Maa is a poor showcase of Furia's feel for the genre. The film neither creates emotional engagement with its characters nor has the technical polish to be a convincing scare-fest. Except for a few scenes, there is a lack of atmospherics needed to carry off a tale of demonic possession. No heart beat is skipped when the monster, looking like a mean-tempered version of the tree spirits from the Lord of the Rings films, makes its appearance. Nor is the big revelation about the monster's human helper a real surprise. A haunted jungle that is right next to the mansion, separated by a crumbling wall or two? A concerned mother who drags her daughter to a place that has never been good to young girls? A Bengali pre-teen who has been raised in Kolkata but has no idea about the belief system in Kali? Maa isn't even trying. The 135-minute film gains some traction towards the climax, when Ambika channelises her inner goddess. A heavily made-up Kajol tries her best, but the battle was lost even before Ambika set foot in Chandarpur. Play
Scroll.in
23-05-2025
- Entertainment
- Scroll.in
‘April May 99' review: An irresistibly charming summer vacation
The summer of 1999 in the Maharashtrian coastal town Shrivardhan promises to be like any other. The school term will end. Krishna (Aaryan Menghji), Prasad (Shreyas Thorat) and Siddhesh (Manthan Kanekar) will spend the break loafing about. However, a tsunami is gathering. Prasad's father Suresh wants to send him to Mumbai to improve his English. Krishna and Siddhesh see this as nothing short of a betrayal. A solution is presented by Jaie (Sajiri Joshi), a neighbour's niece, who comes to Shrivardhan for a vacation with a camera, curiosity about the ways of the fishing town, and an enviable command over English. But Jaie's entry into the boys' lives causes turbulence for which they are unprepared. Rohan Mapuskar's Marathi-language April May 99 is out in cinemas with English subtitles. Mapuskar's directorial debut is an irresistibly charming account of the comforts of the old clashing with the shock of the new. Mapuskar's screenplay, written with Kunal Pawar and Bimal Oberoi, is very good at creating low-key incidents that take on the air of massive problems for the impressionable boys. Much of the hilarity flows from the bad temper shown by the hosts when they have to take Jaie around, and then confusion when they begin to feel emotions they have never confronted before. Despite its subject matter, April May 99 isn't a typical coming-of-age movie. Puberty, adolescent sexuality, the dynamic between growing girls and boys – these themes get the kid-glove treatment in a film in which the boys behave like nine-year-olds rather than 15-year-olds and are treated as such by the grown-ups. Play The absence of sexual frisson is explained away by the year in which the film is set. In 1999, per Mapuskar, there is still scope for purity, innocence and freedom from the anxieties of the new millennium. Rather than hormonal stirrings, April May 99 is more interested in the tug of memories for guileless times. Mapuskar's deft characterisation, as well as the small-town setting, makes this idyllic view plausible. Mapuskar's control is most felt in his handling of the delightful quartet of lead actors. The boys have the shared bond of a relationship born while they were in their diapers. Sajiri Joshi, in her acting debut, provides a wonderful calming counterpoint to the frequently overwrought boys. The young performers are surrounded by adult actors who provide colour, comedy and wisdom without coming in the way. April May 99 is like travelling in a time machine back to the joys of childhood vacations where nothing of importance seemed to happen even though a great deal was churning under the surface. Mapuskar's film deftly shows how the holiday does more than improve English-speaking abilities, best captured in the earnest declaration 'I am thank you.' The final sequence is beautifully judged, poised as it is delicately between adolescence and impending adulthood. The gorgeous locales, which have been shot by Apoorva Shaligram, create their own kind of nostalgia for green and uncluttered spaces. The 129-minute movie also has a lovely soundtrack by the composers Rohan-Rohan, with Mann Jaie, soulfully sung by Sonu Nigam, lingering in memory long after the end credits have rolled. Play
Pink Villa
19-05-2025
- Entertainment
- Pink Villa
Cannes 2025: Laapataa Ladies' Chhaya Kadam reveals how debut at film festival helped her get past fear of wearing heels, western dresses
The Indian contingent has taken over the streets of France, proudly representing Indian cinema. Among them is ace actress Chhaya Kadam, who flew to Cannes 2025 with her Marathi-language movie, Snow Flower. In a recent interview, she stated that her debut at the festival last year helped her overcome the fear of wearing heels, western dresses, and more. Back in 2024, Chhaya Kadam and the team of All We Imagine as Light went to the 77 th Cannes Film Festival for the first time. As she flew to the global event for the second time this year, Kadam feels more confident and familiar with the city, the people, and the festival. While talking to The Hollywood Reporter India, the actress recalled how her debut at the event gave her wings and confidence. "Cannes Film Festival ne mera boht confidence badha diya hai (Cannes Film Festival boasted my confidence)" stated the Gangubai Kathiawadi actress. She went on to add that not just as an actress, but in her personal life too, she has become confident. She shared in Hindi, "Jiss jiss cheezon ka mujhey dar tha, ke ye mujhme kami hai, angrezi nhi aati hai, mai heels mein chal nhi paati hu, western kapde kabhi pehne nhi they. Ye sab cheezon ka jo darr thana, Cannes Film Festival ne pura nikaal diya. (All the things I was fearful of, like I don't know English or I can't walk in heels and wear western dresses, all the fears have gone, thanks to the Cannes Film Festival)." Having said that, she expressed her gratitude to all the people associated with the festival for teaching her that, however she is, she is the best. Talking about All We Imagine as Light, the Payal Kapadia directorial was nominated for the Palme d'Or and won the Grand Prix at Cannes 2024. The movie also starred Kani Kusruti, Divya Prabha, and Hridhu Haroon. Not just Chhaya, Payal also returned to the festival this year, but as a jury member. Apart from them, Janhvi Kapoor, Ishaan Khatter, Karan Johar, and Vishal Jethwa are also attending the event and representing their film, Homebound.
The Hindu
12-05-2025
- Entertainment
- The Hindu
‘Sabar Bonda' continues strong festival run, wins audience award at IFFLA
Following its history-making win at the Sundance film festival earlier this year, Rohan Kanawade's Marathi-language queer drama Sabar Bonda has added another feather to its cap. The film, about a young man returning to his roots in rural Maharashtra, recently won the Audience Choice Award for Best Feature at the Indian Film Festival of Los Angeles (IFFLA) 2025. The film also received an Honorary Mention for Acting from the IFFLA jury for the performances of Bhushaan Manoj and Suraaj Suman. Sabar Bonda follows city-dweller Anand, played by Manoj, as he embarks on a 10-day mourning ritual in his ancestral village after his father's death. Speaking about the win at IFFLA, the producers in a joint statement said, 'From the beginning, we knew Sabar Bonda was a quiet recognition is not just for our team, but for the entire ecosystem of independent cinema.' They added: 'We're proud to see it embraced at such an iconic platform like IFFLA. An audience recognition like this one reaffirms something we've always held true: there is an audience for every story.' Back in February, Sabar Bonda became the first Indian fiction film to win in the World Cinema Dramatic Competition at the Sundance Film Festival. The film secured a theatrical release in North America via Strand Releasing.
News18
06-05-2025
- Politics
- News18
Delivery Apps Under Fire: Shiv Sena UBT Flags Safety Concerns In Letter To Mumbai Police
Last Updated: Citing incidents like sexual harassment, theft, impersonation and murder, Akhil Chitre has demanded urgent regulatory action to safeguard public safety. In a strongly worded letter to the Mumbai Police Commissioner, Shiv Sena (UBT) leader Akhil Chitre has raised alarm over the rising number of safety-related complaints linked to delivery personnel employed by online food aggregator platforms like Swiggy, Zomato, and Zepto. Citing incidents ranging from sexual harassment and theft to impersonation and even murder, Chitre has demanded urgent regulatory action to safeguard public safety and restore trust in these services. Chitre, who heads the IT, Electronics, and Communication Wing of the party, in his letter to Mumbai Police, wrote that while such platforms provide convenience, they have also become breeding grounds for fraud and criminal activity. He called for mandatory registration of all delivery agents, strict identity and background checks, and clear accountability from the platforms employing them. 'If companies fail to comply, they must be held responsible for crimes committed by the delivery agents they have employed or hired," the letter emphasised. Among the key recommendations are enforcing standard uniforms and visible ID cards to prevent impersonation, particularly by individuals who conceal their identity using helmets or masks. Chitre also highlighted the need for standardised training in traffic rules, emergency response, and customer etiquette. He called for a dedicated helpline to report safety concerns, especially for female customers, some of whom have reportedly received obscene messages from delivery personnel. 'We cannot ignore these growing threats to public safety, if this doesn't get stopped now it may lead to bigger crime further" Chitre warned in his letter. The letter also accused aggregators of unethical practices, including accepting payments for orders from non-operational restaurants and then citing 'Restaurant Closed" while cancelling them. Delayed refunds — taking up to five days — were flagged as exploitative, particularly for low-income customers. Chitre criticised many customer service helplines of these aggregators, calling them non-responsive and linguistically exclusive, with no Marathi-language support available despite operating extensively in Maharashtra. He also raised concerns about the lack of transparency regarding food sources and hygiene standards and pointed out that company like Swiggy has no functional office or grievance redressal setup in the state, despite its large customer base in Maharashtra. 'The platform economy must not compromise public safety in the name of growth," Chitre concluded, urging the Mumbai Police to issue clear regulatory guidelines and take immediate steps to hold platforms accountable. The letter has reignited public discourse on the need to balance digital convenience with citizen safety —especially as urban India increasingly relies on doorstep delivery services. Get breaking news, in-depth analysis, and expert perspectives on everything from politics to crime and society. Stay informed with the latest India news only on News18. Download the News18 App to stay updated! First Published:
