![Image](https://m.media-amazon.com/images/M/MV5BODYxY2Y4N2EtZDZiMC00Nzk1LWE2MjQtMGZiMmYxZDUyODBjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Playback singer Nikhita Gandhi in her collaboration with actress Ritabhari Chakraborty for her latest music video ‘Time’, delivers a peppy, foot tapping pop-rock song laced with the feeling of a strong romance, which ended before its time, with two lovers wishing they had more time.
Talking about her song, Nikhita stated: “The song is a really fresh record for the soundscape we are surrounded with these days! I love the loopy earworm that the lyrics ‘Time Baby’ give. It’s sort of freeing and at the same time brings out the frustration of not having enough time.”
In the track, she collaborated with fellow singer Siddhant Sharma, who provided the male vocals for the duet. The two harmonise in the song, balancing and complementing each other’s vocals.
While Nikhita has a more modern American pop style side to her vocals, Siddhant has a rawer vocal aesthetic, with a tinge...
Talking about her song, Nikhita stated: “The song is a really fresh record for the soundscape we are surrounded with these days! I love the loopy earworm that the lyrics ‘Time Baby’ give. It’s sort of freeing and at the same time brings out the frustration of not having enough time.”
In the track, she collaborated with fellow singer Siddhant Sharma, who provided the male vocals for the duet. The two harmonise in the song, balancing and complementing each other’s vocals.
While Nikhita has a more modern American pop style side to her vocals, Siddhant has a rawer vocal aesthetic, with a tinge...
- 9/15/2023
- by Agency News Desk
![Image](https://m.media-amazon.com/images/M/MV5BODYxY2Y4N2EtZDZiMC00Nzk1LWE2MjQtMGZiMmYxZDUyODBjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Playback singer Nikhita Gandhi in her collaboration with actress Ritabhari Chakraborty for her latest music video ‘Time’, delivers a peppy, foot tapping pop-rock song laced with the feeling of a strong romance, which ended before its time, with two lovers wishing they had more time.
Talking about her song, Nikhita stated: “The song is a really fresh record for the soundscape we are surrounded with these days! I love the loopy earworm that the lyrics ‘Time Baby’ give. It’s sort of freeing and at the same time brings out the frustration of not having enough time.”
In the track, she collaborated with fellow singer Siddhant Sharma, who provided the male vocals for the duet. The two harmonise in the song, balancing and complementing each other’s vocals.
While Nikhita has a more modern American pop style side to her vocals, Siddhant has a rawer vocal aesthetic, with a tinge...
Talking about her song, Nikhita stated: “The song is a really fresh record for the soundscape we are surrounded with these days! I love the loopy earworm that the lyrics ‘Time Baby’ give. It’s sort of freeing and at the same time brings out the frustration of not having enough time.”
In the track, she collaborated with fellow singer Siddhant Sharma, who provided the male vocals for the duet. The two harmonise in the song, balancing and complementing each other’s vocals.
While Nikhita has a more modern American pop style side to her vocals, Siddhant has a rawer vocal aesthetic, with a tinge...
- 9/15/2023
- by Agency News Desk
- GlamSham
![Image](https://m.media-amazon.com/images/M/MV5BZmRhYzA0MzQtZDFiMC00MzEwLTgzNTEtMGNlOWZiZGY0YmJkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Arvind Pratap’s “Mariam,” which has post production support from the Busan International Film Festival’s Asian Cinema Fund, tackles a range of social issues in India.
Millions of families from rural India move to the big cities in search of employment and “Mariam” follows one such migrant worker family. The breadwinner is Mariam, who has to look after her three daughters and also takes on an illegal surrogate pregnancy to earn for her family in Mumbai.
Pratap, who previously directed the acclaimed “The Reluctant Crime,” got the idea for the film from a newspaper article detailing changes in the Surrogacy Regulation Bill by the Indian Supreme Court, where single parents were excluded from surrogacy.
“At that moment, I thought about what will happen to the baby and surrogate mother if a couple get divorced during the pregnancy period. Whose responsibility will be the baby? That thought lingered for a...
Millions of families from rural India move to the big cities in search of employment and “Mariam” follows one such migrant worker family. The breadwinner is Mariam, who has to look after her three daughters and also takes on an illegal surrogate pregnancy to earn for her family in Mumbai.
Pratap, who previously directed the acclaimed “The Reluctant Crime,” got the idea for the film from a newspaper article detailing changes in the Surrogacy Regulation Bill by the Indian Supreme Court, where single parents were excluded from surrogacy.
“At that moment, I thought about what will happen to the baby and surrogate mother if a couple get divorced during the pregnancy period. Whose responsibility will be the baby? That thought lingered for a...
- 10/5/2022
- by Naman Ramachandran
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BNjZjNGU5NTgtYWUwNi00NTlmLWIyYzMtN2FkOThlZDZhNDMwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR10,0,500,281_.jpg)
Zee Theatre is celebrating the birth anniversary of eminent playwright Vijay Tendulkar with teleplays Khamosh Adalat Jaari Hai and Sakharam B. Tendulkar redefined Marathi theatre with his searing commentaries on socio-political issues and often rattled conventions and questioned oppressive norms. Both teleplays perfectly exemplify the incisive and powerful writing that Tendulkar's peerless oeuvre stands for. Khamosh Adalat Jaari Hai is an adaptation of his 1967 Marathi classic Shantata! Court Chalu Aahe and Sakharam B is based on the 1972 masterpiece Sakharam Binder.
Vijay Tendulkar's Khamosh Adalat Jaari Hai
Khamosh Adalat Jaari Hai
This is an adaptation of Tendulkar’s Shantata! Court Chalu Aahe. The story which is a simple and engrossing one begins with a theatre group which plans to stage a make-believe play in a village. This make-believe however slowly turns into the grim reality when real stories come out in the open. Issues such as gender discrimination and time-worn social...
Vijay Tendulkar's Khamosh Adalat Jaari Hai
Khamosh Adalat Jaari Hai
This is an adaptation of Tendulkar’s Shantata! Court Chalu Aahe. The story which is a simple and engrossing one begins with a theatre group which plans to stage a make-believe play in a village. This make-believe however slowly turns into the grim reality when real stories come out in the open. Issues such as gender discrimination and time-worn social...
- 1/7/2021
- by Glamsham Editorial
- GlamSham
Tottaa Pataaka Item Maal movie review is here. Helmed by Aditya Kripalani who came into limelight with three international bestsellers - Backseat, Frontseat and Tikli And Laxmi Bomb (book and movie). Currently streaming on Netflix, the movie stars Shalini Vatsa, Chitrangada Chakraborty, Sonal Joshi and Kritika Pande in pivotal roles. Set in Delhi Ncr, Tottaa Pataaka Item Maal speaks about the haunting fear of rape. Does it makes the impact?. Find out in the movie review of Tottaa Pataaka Item Maal.
Immediate reaction when the end credit rolls
A relevant feminist mission gone wrong and turned into a pointless clap trap designed to please those juvenile pseudo revolutionaries we find popping up on social media.
The Story of Tottaa Pataaka Item Maal
Four women meet by chance in a ?ladies only? taxi ride. A martial arts instructor Chitra Joardar (Chitrangada Chakraborty), a cop Shagun Narwal (Sonal Joshi) the owner of...
Immediate reaction when the end credit rolls
A relevant feminist mission gone wrong and turned into a pointless clap trap designed to please those juvenile pseudo revolutionaries we find popping up on social media.
The Story of Tottaa Pataaka Item Maal
Four women meet by chance in a ?ladies only? taxi ride. A martial arts instructor Chitra Joardar (Chitrangada Chakraborty), a cop Shagun Narwal (Sonal Joshi) the owner of...
- 7/2/2019
- GlamSham
The poster of Tottaa Pataaka Item Maal directed by Aditya Kriplani was shared by Sanjay Gupta on his social media post. The post read, ?#FirstLook My buddy Aditya Kripalani is back with his second film Tottaa Pataaka Item Maal after his fabulous debut. With this he takes his game to the next level.?
The director of the film had earlier posted, ?Our new film. Out soon! #TottaaPataakaItemMaal #WomenTakeDelhiBack?
A February post about Chitrangada Chakraborty made a very interesting statement that read, "In the film industry, you?re lucky if you can choose your role, and I?ve been lucky to have good strong roles come my way." - Chitrangada Chakraborty #TottaaPataakaItemMaal?
The poster also reads ?Coming soon to the coolest platform?...
The director of the film had earlier posted, ?Our new film. Out soon! #TottaaPataakaItemMaal #WomenTakeDelhiBack?
A February post about Chitrangada Chakraborty made a very interesting statement that read, "In the film industry, you?re lucky if you can choose your role, and I?ve been lucky to have good strong roles come my way." - Chitrangada Chakraborty #TottaaPataakaItemMaal?
The poster also reads ?Coming soon to the coolest platform?...
- 6/24/2019
- GlamSham
CinemaThe film is about two sex workers who decide to cut out the middlemen and run their own business.Sowmya RajendranCommercial sex workers in cinema usually appear to titillate and serve as symbols of vice. If at all the character has an arc beyond that, it is typically a sob story that justifies why and how the woman became a sex worker and her desire to turn over a new leaf. There have been very few films like IV Sasi's Avalude Ravukkal where a sex worker has not only been unapologetic about what she does, but also considers herself deserving of love and dignity despite what her job. Vidya Balan's Begum Jaan, a remake of Rajkahini, which told the story of a brothel caught in the partition, was slammed by many critics for its melodrama. Nevertheless, it's one of the rare films to have looked at commercial sex work from within by having them as the central protagonists - however unsatisfactory it might have proven to be. Aditya Kripalani's Tikli and Laxmi Bomb is distinct in tone from all these films - it's the story of a start-up, a business dream. The product is sex work but the premise makes it quite different from the usual films we've seen on the subject. It all starts with Putul (Chitrangada Chakraborty), a young Bengali woman who joins the streets of Mumbai as a sex worker. From the beginning, she has the air of the rebel. She wants to know why things are the way they are - why do they have to pay middlemen their cuts, why do they have to give the cops money when they harass them anyway? Laxmi (Vibhawari Deshpande), a senior in the job, tries to brush her questions away...because she knows what can happen when they are asked. However, Putul does not give up. In one scene, she is sitting at a restaurant in a jazzy red top and announcing to her fellow sex workers that she's wearing red because red is the colour of revolution. Not all of them look convinced, but they are moved nevertheless by this strange hot-headed woman who has built a reputation with her knife. In another scene, Putul is being brutally raped, but even then, she manages to exert some agency in deciding in what position she will be raped - because it makes a difference to her. While the camera doesn't romanticise sex work - there are many instances when we're shown just what kind of brutal abuse and danger the women are subjected to - it does not, at any point, turn exploitative. Finding that balance is hard to do in a film like this but Tikli and Laxmi Bomb pulls it off. In an earlier interview to Tnm, Aditya has spoken about how he used to pay sex workers to share their experiences with him so he could write the book on which the film is based. You see this reflected in the kind of detail that plays out in the plot. When the sex workers need to organise money quickly, an inventive Putul comes up with an idea that makes you grin - the idea, which can be quite gross to watch when executed literally on screen - is presented as a glorious relay race on the beach, with the smiling women running with a rare freedom. The business ideas and tricks that the women come up with make for the best parts in the film. The villains, who are all nasty, sleazy men, are unfortunately too one-note to leave an impression. Take corporator Shinde. We're introduced to him when he's 'auditioning' bar dancers. It's too obvious and divides the film all too clearly into the good girls vs the bad boys. There are no grey characters and this makes the screenplay predictable. Among the sex workers, there's enough diversity - from a Saranya to a Tsamchoe - but except Laxmi and Tikli, the characters of the rest are under-developed. Not that we need to hear why they became sex workers, just that it would have been rewarding to see what sort of people they are. I got the sense that Aditya relied more on their clothing and sense of style to create characters than write them. I was also wondering why there were no trans women in the group - was it to avoid the stereotyping? The unconventional camera angles often jolt you into seeing the film from within, rather than from the outside. I found the background score unsettling - at times I felt it just didn't go with what was being shown on screen. Take that chase scene with Laxmi and Putul, the music almost sounds adventurous rather than dangerous. But then, I was wondering if this is because I expected the score to go with all the stories of sex workers we've seen so far. If the scene had been from an average film about a start-up, the score would have been quite suitable. And that is what Tilki and Laxmi Bomb is, a start-up story, however bizarre it might seem. The film is currently in the festival circuit and the makers hope for a theatrical release soon.
- 3/27/2018
- by Editor
- The News Minute
Cinema The film is about two sex workers who come together to run a co-operative and eliminate the middlemen. Tnm StaffWriter and filmmaker Aditya Kripalani, who recently turned his third international bestseller, Tikli and Laxmi Bomb into a film of the same title has another feather in his cap. The film has won Best Feature in the 10th edition of the Berlin Independent Film Festival on Sunday. Featuring Vibhawari Deshpande, Chitrangada Chakraborty, Suchitra Pillai, Upendra Limaye and Saharsh Kumar Shukla, the film will be screened in the UK Asian Film Festival at London’s oldest cinema house. Last year A Death in the Gunj and Lipstick Under My Burkha were selected from India. The book and film trace the unusual story of two sex workers who come together to run a co-operative and eliminate the middlemen in sex work. In an interview to Tnm, Aditya revealed that he had always wanted to make an anti-patriarchy film with the theme of ‘Sisterhood above all’, and this is what led him to pick an entirely woman-oriented subject. An alumnus of the prestigious Ftii in Pune, Aditya said that the idea for Tikli and Laxmi Bomb originated in 2003, after watching Thelma and Louise in college. “(I) have wondered ever since why we aren't making a film with that wild a spirit, with that acerbic a telling, in India,” he said. On the research on sex work that went into writing the story, Aditya said, “I spent a lot of time talking to sex workers around the Sv road area (Mumbai). This would only work practically if I paid them for the sex and had a chat instead. As they're at work and making their living for the night, money is of primary importance and not some pesky guy's questions.” “A lot of them also opened up after the second or third time. And spoke of their lives, what drove them, urges, feelings, they shared their laughter. The most beautiful thing was that on their own, they're not 'martyrs' or sad at all. They're about as happy as women working in advertising or banking. It's just that they've seen patriarchy in its worst colours and so are wiser for it, in terms of how to deal with it,” he added Just like the research done on the book, the film too has been shot in real locations in Mumbai in tough conditions. Apart from Tikli and Laxmi Bomb, the filmmaker has also written two other books, Frontseat and Backseat which went on to become international bestsellers as well.
- 2/21/2018
- by Editor
- The News Minute
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