Release date: 2017-09-01 $10.99
1. Vikram Vedha - Awesome movie i Love this movie best Tamil movies of i just love r madhavan and Vijay Sethupathi mind blowing performances thank you for the director for making such a awesome movie i have seen this movie last year in youtube in my iPad and i Loved it rest of the Actors also did great
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1. A gem of a film... - "I wish I could stop the world for just a moment." This documentary is stunning in its ability to capture the essence of this community of Kathputli. It has succeeded in capturing the moment with such depth that I think, and hope, I will never forget the feeling it gave. "I realized that my art goes much deeper. A man can be having a bad day, and I can perform for him and make him smile." This film lives up to the rare opportunity its directors were presented with. Five stars, since that's the highest rating allowed.
2. Deep, layered, moving. - Important documentary that brings to light the plight faced by many communities in developing countries undergoing urban renewal. For the Kathputli colony, this problem is particularly acute as they face the extinction of their heritage as a community of artists. How do traditional arts adapt with a country's economic progress? Tomorrow We Disappear provides a balanced view by drawing on the perspectives from different groups in the community—the young, the old, the optimistic, and the pessimistic. Beautifully shot and with intriguing characters. A must watch.
3. Beautiful, moving, incredible documentary - This documentary was one of the best I have seen in a long, long time. Not only does it do an incredible job of humanizing (and not orientalizing or “foreign-ing”) the traditional Indian performers who are its main characters, but the visuals are just breathtakingly beautiful.
4. Preserving Cultural Heritage - This is an important new documentary by the brilliant young filmmakers, Jim Goldblum and Adam Weber. Set in the Kathputli colony in New Delhi, it is ostensibly a film about the Indian Government's attempts to raze a slum to make room for a high end shopping mall. But, on a deeper level, the film is a universal story about humans' never ending efforts to preserve their culture, their history and scale, in New Delhi and around the world.
5. Phenomenal film - This -star review from Madison Film says it best: There are very few times you can look away from the documentary Tomorrow We Disappear. The viewing experience is like watching the blink-and-you-miss-it magic that the artists of the Kathputli colony practice every day, since they were born, for a hundred years in Delhi, India. Tomorrow We Disappear is a surreal survey with dream-like cinematography documenting the Kathputli artists’ colony, a sprawling urban family of street performers and magicians, acrobats and puppeteers. Their home in the slums is now threatened by developers, whose shining skyscrapers will displace these keepers of their culture. tomorrow we disappear The entire movie is like a Julian Schnabel guest-directed an episode of Vice; beautiful and odd, dizzying in its color and character if not exactly in breadth. We see into many lives, peek under many marquees, but as the film proceeds, one man’s story emerges from the others. We follow puppeteer Puran Bhatt to the end, riveted to his face, his hands, his marionettes. Puran, anguished, shows the camera a puppet his uncle made for his father, in a room of belongings he will soon lose, as the developers make room for New Dehli’s first skyscraper. All of the sudden the film, heretofore as lively as an auction, goes silent, and Puran, without saying a word, sweeps the puppet’s hand across his face, a small performance to express his sorrow, for which he has no words. The sequence is as surreal and unnerving as any Quay Brothers film, as earnest as a love letter, and, frankly, stunning. There was no air in the room anymore. My heart was racing. And then, just as unceremoniously the moment passed. Then Puran the man returned. Puran is as invested in the documentary as any producer, any do-gooder or journalist who’s heard of the prismatic slum and its famous inhabitants. Celebrated in Salman Rushdie’s epic Midnight’s Children, the colony has been sought after for years by people who want to experience the old culture, the secret trades that they have been practicing for generations. Puran addresses the camera immediately, in a powerful directive I’ve rarely seen in documentaries: the subject asks to be filmed, insisting that the camera show everything, everywhere. Puran wants Kathputli documented so one day he can look at the images and remember, “This is how we lived.” Despite the film’s discontinuous editing, the small, occasional shifts back and forth in time only enhance our understanding of the story. The filmmakers provide clear markers of where we’re moving and why. The film is chock full of amazing moments; some will move you to tears, while others will provoke real squirms of discomfort. There are jaw-dropping images and discombobulating sequences that provide real ham-fisted punches to the gut. A young and lovely acrobat called Maya delivers several performances that quite literally stopped me in my tracks. We’re introduced to her peripherally: we see her stretching, practicing here and there among her family before we ever learn her name. And then we discover that she’s an acrobat, and Kathputli families begin training their acrobats when they’re just eight months old. In one breath, Maya says they teach the children not to fear, and in the next, she proudly shows us how she can bend “the wire,” which is a long metal pole, that she wrangles into submission using only her body, and her soft young neck. I couldn’t look away, but I also wanted to jump out of my seat and run away. This physical strength is nothing compared to her mental strength, her grace. She’s one of the Kathputli artists who does not fear the developers. She wants to take a computer course, or maybe be a teacher. She’s facing the future with poise and hope, and then all of a sudden, a woman who we assume is her mother walks heavily into the room, settles in the background out of focus, and delivers a crushing blow to Maya: she explains why Maya is “unsuited for marriage.” The camera remains tight on Maya’s motionless face, a profound range of feelings crossing her face like lines on a map. It’s the kind of emotional moment and clever framing that indie dramas live and die on. But in this documentary, about so many lives and so much magic, it’s delivered as casually as passing a dish at dinner. There are compositions throughout the film that stun powerfully in this way. Cinematographer Will Basanta, who shot festival circuit favorite Jess Moss, operates and focuses at the same time (often a job for two people on a larger production), which produces a constantly refocusing, dreamlike effect, and an asymmetrical framing that lends an emotional quality to conversations that, in other set ups, might not affect so much. Although production was quite small, the filmmakers beautifully capture everything with an auteur’s eye and ear: oddball pairs working the streets, parade sequences, Puran’s impassioned letter to the housing minister. Directors Weber and Goldblum seem to reference canonical narrative directors, in form and in content. I see the peculiarly talented set of misfits of a Jean-Pierre Jeunet film, and the lyrical camera movements of early David Gordon Green. Puran’s letter to the minister is as poignantly absurd as anything ever written by Wes Anderson. I can’t deny the influence of Satyajit Ray’s gritty realism at work here, either, as well as the post-modern techniques of the French New Wave. To me, this seems like film-school-kids-done-good, done best, perhaps: young filmmakers with a social consciousness, a knack for magic, a yen for storytelling, and the style to tell.
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1. Highly recommended! - Gorgeous cinematography and directing gives parents, teens, and older kids a rare view into the gritty but tender world of Dhaka Bangladesh. The story is told through the eyes of a courageous teenaged girl who bravely dresses as a boy and rides a bicycle rickshaw to earn money for her father’s medicine. The lead character is played brilliantly by Novera Rahman. The film is loosely based on the beloved middle-grade novel by Mitali Perkins, but adds whole new dimensions to the story and characters. Rarely do you find a five-star English-language film out of Asia worth watching, but RICKSHAW GIRL is it. And it was worth the wait. It’s no surprise the film is a festival favorite with these awards: “Audience Favorite/Family,” Mill Valley Int’l Film Festival, SF Bay Area, California
"Best of the Fest" Chicago International Children's Film Festival"
“Top Film” Schlingel Int’l Film Festival, Chemnitz, Germany
“Jury Award" Prescott Int’l Film Festival
"Audience Favorite" Prescott Int'l Film Festival, Arizona
“Best Narrative” and “Outstanding Achievement in Film,” Tagore Int’l Film Festival, West Bengal, India
"Best Producer" Buddha Int'l Film Festival, Pune India
"Best Director" Buddha Int'l Film Festival, Pune India
"Best Kids Film" Filem'On Film Festival, Brussels, Belgium The themes are universal -- girl empowerment, the desire to be creative, and the need to succeed in a world that isn't always filled with mercy. This is a movie of personal triumph without being melodramatic. On the contrary, the film is sublimely understated and so beautiful. And the ending is so unexpected and uplifting, it'll take your breath away. When I saw it at Mill Valley Film Festival, there wasn't a dry eye in the audience. There are some rough-and-tumble street scenes but no sexual situations or other content unsuitable for kids nine and up.
2. Beautiful, thought-provoking film - Rickshaw Girl gives an intimate glimpse into the world of a Bangladeshi girl that desperately wants to help her poverty-stricken family. The film does a careful job of depicting the struggles of poverty without either disparaging or glamorizing it, making it feel very true to life. While set in Bangladesh, the challenges the main character faces due to wealth and especially gender inequality are universal, and her determination to help her family while staying true to herself and her passions is inspiring. The cinematography and musical score are perfect for the story being told, and the casting is inspired. Can’t recommend this beautiful film highly enough.
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