Latest news with #SecondChance
Korea Herald
20-06-2025
- Entertainment
- Korea Herald
Witty paintings encourage us to take another look
The whimsical works of Japanese artist Hiroyuku and Korean artist Moon Seon-mee are brought together in 'Second Glance,' an exhibition at Artcube 2R2 in Gangnam-gu, southern Seoul. Hiroyuki reinterprets western masterpieces — from Leonardo da Vinci to Van Gogh and Magritte — playfully turning their most famous figures into cats. Through familiar yet satirical imagery, the artist invites viewers to take a fresh look at that which they have taken for granted. Moon's humorous female characters with exaggerated features explore the tension between socially constructed ideals of femininity and personal desires. The exhibition features a variety of media, including painting and digital work. 'Hiroyuki and Moon Seon-mee transcend differences in culture, gender and generation in their works. We hope visitors will discover reflections of their own emotions and experiences in these artworks,' said Hong ji-sook, CEO of Art Cube 2R2. The gallery is run by ArToken, an online non-fungible token art trading platform. The exhibition 'Second Chance" runs through Aug. 13.
The Wire
18-06-2025
- Entertainment
- The Wire
‘Second Chance': Subhadra Mahajan's Debut Is an Assured Tale of a Reawakening
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories 'Second Chance': Subhadra Mahajan's Debut Is an Assured Tale of a Reawakening Tatsam Mukherjee 6 minutes ago In this day and age, where films tend to boast of a scope of cinematic universes, giant problems, global disarray, Second Chance is a relatively contained effort. A still from 'Second Chances.' Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now Nia (Dheera Johnson) is scared. In the first scene of Subhadra Mahajan's Second Chance, we hear the protagonist's voice over a black screen. She's calling Kabir – her partner, presumably. She's pregnant, and doesn't know what to do. 'Please call me back when you see this,' she drops him a text, one of the many that have gone unanswered. The screen comes to life, and she's in the middle of thick snow. It takes a while for us to register that she's in some remote corner in Himachal Pradesh. As details trickle down, we learn that Nia comes from a rich Delhi family, who own a holiday home in the hills. Overcome with fear about the pregnancy, Nia flees from the capital. With limited network coverage in the home (near a bedroom window), a silent boyfriend, and seemingly supportive-yet-distant parents, Nia finds her refuge among the caretaker family of the home: Raju (Rajesh Singh), his son Sunny (Kanav Thakur) and mother-in-law Bhemi (Thakri Devi). Mahajan's directorial debut is shot in black-and-white by cinematographer Swapnil S. Sonawane, also a producer on the film. Second Chance is a breathtaking film to look at, framing Nia's initial isolation among snow-capped peaks, as if her world is caving in. The class commentary is not particularly novel here; with Nia refusing Raju and Bhemi's meticulously prepared meals in the first few days, too consumed by her own grief to be considerate of their labour or the wasted food. As Raju has to step out of town for a court hearing, Nia is left with Bhemi's caution and Sunny's unapologetic wonder. It takes a few days for her to warm up to them – but it takes the extreme winter to thaw their differences. Second Chance could initially appear like it's unfairly indulging its protagonist, given the sparse dialogue, the focus on Nia's grief, and the aesthetically-framed black and white frames of her isolation. But then the film slowly tilts towards the environment and her caretakers. An older shepherd, who brings raw wool to Bhemi to be spun into yarn, appears in two superb scenes, presenting the film's wider eye on the world. 'The weather has changed, man's principles have changed,' he bemoans to Bhemi in one scene. He imparts another gem when Bhemi and Nia visit him, after what appears to be an arduous uphill trek: 'Racing is no way to conquer mountain tops,' he notes. A still from 'Second Chances.' To Johnson's credit – Nia is equally believable as wasted youth, but also as something more. After a stomach ache reveals that her initial abortion attempt wasn't successful, the doctor asks her questions about a possible sexual assault being the cause for the pregnancy. Johnson's face shrinks, her voice quivers as she confesses – ' Meri marzi se hua tha (it happened consensually).' She tries to numb herself with alcohol and cannabis at first, but discovers peace the more she immerses herself into the lives of Bhemi and Sunny. The eight-year-old boy lost his mother during childbirth. In the midst of all his naughtiness, he doesn't forget to kiss his mother's portrait hung in their home. Looking after Nia following her abortion, Bhemi concedes her own secret. The two women both make mental notes of each other's kindness and discretion. A still from 'Second Chances.' A chance visit by a childhood friend reveals that Nia is one of those bratty drifters, responsible for a couple of failed ventures – vegan organic nighties, and vague tea concoctions – which she says were her ideas, but things she was pushed into. We are taken through a journey at the end of which Nia discovers what she wants and is unafraid to communicate it. With its glacial pacing and its silent, observational style, Subhadra Mahajan's film is a modest and assured film of a reawakening. In this day and age, where films tend to boast of a scope of cinematic universes, giant problems, global disarray, Second Chance is a relatively contained effort. While an individual's coming-of-age through trauma and betrayal might seem like a minor undertaking, it's still undoubtedly a well-made film. By the end, Nia is less scared. Maybe that's what we need today, a few more people, less scared than they were yesterday. *Second Chance is playing in theatres. The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments. 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New Indian Express
17-06-2025
- Entertainment
- New Indian Express
Director Subhadra Mahajan: Second Chance is a very feminine film
They say, "The night is darkest before dawn..." and it has always been a phrase used to instill hope in our minds. For debutant director Subhadra Mahajan, her first film, Second Chance, was a journey through a similar dark night, which, fortunately, found its dawn recently with a limited theatrical release. 'As independent filmmakers, we struggle at every level—while we are scripting, putting our team together with hardly any resources, shooting against all the odds, finding more avenues for funding during post-production, and getting through the festival run with lots of luck. However, I was told that this kind of film would never see a theatrical release in India, as the country is not particularly known for respecting artistic or indie films. But seeing the film on the big screen left me with a feeling of disbelief, as it was a dream come true,' says Subhadra. In Second Chance, the protagonist Nia (Dheera Johnson) goes through her own journey of healing after experiencing a major trauma. In her family's summer retreat in the Kullu Valley, she finds friendship in the form of the seven-year-old Sunny and guidance from the 70-year-old Bhemi. Second Chance also showcases Nia's relationship with nature, and the spiritual connection with Himachal Pradesh's Devis and Devtas. 'The region of Kullu still has a strong belief in its ancient, but unique, system of worship. Since my actors and I are locals, we made sure that we gave offerings to the different deities. We sought blessings from the main deity of the valley, Hidimba Matha, because Second Chance is a very feminine film. The house where we shot the film has the prevalence of a Nag Devta, Vasuki Nag. So, completing the shoot of the film, against all odds, felt like the gods and the goddesses were on our side,' says Subhadra. Delving deeper into the film's themes, she says, 'Second Chance is about healing and unlikely friendships, but nature was an important theme. We need to expand our worldview, and make friends outside the human race, too. A river or an owl can be your friend, like they were for Nia.'
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First Post
17-06-2025
- Entertainment
- First Post
Second Chance Movie Review: Subhadra Mahajan's lyrical film deals with grief in an unhurried way
Subhadra Mahajan's lyrical film shows how people have different ways of dealing with grief and loss. The film in on of the places says that there is a certain joy in madness and that only an eccentric person can understand and that truly is the best way to get out of grief. read more Director: Subhadra Mahajan Cast: Dheera Johnson, Thakri Devi, Kanav Thakur, Rajesh Kumar Set in a hill town with beautiful images of snowfall and mesmerizing scenic beauty, writer-director Subhadra Mahajan shows the healing process from grief. Though very silently, with absolutely no drama or over acting, mostly the expressions doing most of the talking, the film follows 25-year-old Nia (Dheera Johnson) journey of dealing with grief and abortion. Nia (Dheera Johnson) finds solace in the summer home built by her parents in Pir Panjal mountains of Himachal Pradesh. The movie shows how she gradually learns how to deal with loss. Grief just like pain is very subjective. Everyone experiences and processes grief in their unique way. The process followed by Nia in Second Chance shows how sometimes healing hurts more than the wound. And when the wound is done by someone who is alive, you wait for an answer and you keep asking yourself as to, 'What did I do to deserve this?' STORY CONTINUES BELOW THIS AD A still from Second Chance Nia (Dheera Johnson) is the central character of the film and the movie is all about her and she deals with life in silence. She becomes friendly with the maid of her parents, Bhemi (Thakri Devi) along with her grandson, Sunny (Kanav Thakur) and they are actually her only friends. The silence of the hills and a few good and simple people help her to recuperate from sadness. She develops a bond with Bhemi (Thakri Devi) and has a great time playing cricket with her grandson. She also gives shelter to a stray kitten. Towards the later half of the film we realise that Bhemi too is dealing with the loss of her daughter. Despite all differences in terms of their lifestyle and class, she develops a bond with the caretaker and her grandson. The process of dealing with grief as shown in the film is slow and there are times when Nia is unable to get over it. The movie doesn't show solving grief in a hurried way as there isn't any clear-cut method of dealing with grief. The unhurried pace is the beauty of the film. Second Chance shows how Nia is a natural dancer and change of mood is shown through her dance moves and these moves aren't very conventional, but has a slow rhythm. The authenticity of this movie is what is engaging and the best thing is there aren't any trained actors in the film. These non-actors make the film look real. Rating: 3 an half out of 5
Mint
15-06-2025
- Entertainment
- Mint
‘Second Chance' review: Assured debut takes the time to sit with grief
Writer-director Subhadra Mahajan demonstrates remarkable confidence in her debut feature—a lyrical film that explores grief, loss and healing in the spiritual setting of a hill town, characterised by silence and stillness. Set in the Pir Panjal mountains of Himachal Pradesh during winter, the film follows 25-year-old Nia (Dheera Johnson), who takes refuge in her family's remote summer home after experiencing personal loss. This escape from family, city, and a painful reality offers Nia the opportunity to work through her turmoil and emerge from the darkness. Rather than surrounding Nia with noise or heavy backstory, Mahajan distils the narrative down to essentials. Nia lives alone in the cosy house, blanketing herself from the cold and her own pain, until she begins to forge an unlikely bond with the caretaker Bhemi (Thakri Devi) and her playful grandson Sunny (Kanav Thakur). In spite of class differences, three generations coexist and build human connection through small chores, simple joys, and wordless understanding—spurred by rustic cricket games, local delicacies, and a cute kitten. Shot in black-and-white by Swapnil Suhas Sonawane, whose lens captures both the starkness and softness of the Himalayan landscape. From vast vistas to weathered faces, the cinematography is a stunning companion to the film's aesthetic. Natural sounds — wind, birdsong, running streams and Sunny's playful chatter—provide the background score. In this hilly, sparse, quiet locale, Nia cannot escape the chatter in her mind. With poor cellular connectivity, she is compelled to accept the stillness. Second Chance sits with grief rather than rushing to resolve it. Thematically, Mahajan handles the topic of abortion neither as an 'issue' nor a moral dilemma, but simply as a fact of Nia's life. She uses the motif of dance and rhythm to convey Nia's emotions, psychological states, and eventual healing. Language, too, is used sparingly and with precision. Characters move between Hindi, English, and Kullavi, grounding the story in cultural specificity. The casting of local non-actors lends the film an authenticity that never feels staged. Kanav Thakur is naturally childish and precocious as Sunny, the boy who idolises Superman and lovingly remembers his departed mother. If Thakur brings joy to the setting, Thakri Devi's Bhemi embodies kindness and compassion. Through their realities, Mahajan subtly addresses climate change, patriarchy, and daily struggles. The scenes with an old shepherd (Ganga Ram) who flirts overtly with Bhemi are disarming in their simplicity and honesty. Nia is a complex role for a newcomer, and though Johnson is occasionally out of her depth, Mahajan assuredly steers the narrative home. The 105-minute Second Chance asks for patience, as the director, cast, cinematographer, sound designer, production designer, music department, and editor all work toward a singular artistic vision—one that favours suggestion over statement. The film ends on a note of hope, as Nia gradually sheds the weight of grief, finds closure, and accepts that it might be possible to begin again.
