Genre 
A fictional account, inspired by true events and people, of India’s first gold medal win as an independent nation at the 1948 Olympics in London. Tapan Das (Akshay Kumar), the team manager, leads the charge to assemble the country’s first all-Indian hockey team. His aim is to beat the Britishers at their own game, on their own turf.
Tag Archives: Bengali
Chitrokar- The Last Mural
The creative eye goes deeper than the mechanics of eyesight. Blind painter Bijon Bose spent much of his life inspiring students by bringing stories to life through his paintings and idealism. His life is interrupted by a proposal to create a mural for an exclusive restaurant in the city of Kolkata, a journey that brings young strong-minded painter Tithi into his life. Their relationship unfolds through the lines of the mural, as they struggle between generations and life philosophies. Bijon’s once clear lines of artistic integrity are troubled by Tithi’s realism, as he grapples with his role and responsibility towards the life of his work beyond the brush.
Labour of Love (Asha Jaoar Majhe)
Labour of Love is set against the backdrop of a spiraling recession that hit India a few years back. Thousands of people lost their jobs without notice. Factories shut down and mills were locked. Faced with the uncertainty of losing their own jobs, the film’s two central characters are under constant pressure to sustain their livelihood. But even in the face of adversity, they seem to possess a serene power and their demeanor helps display a strange, comforting calmness. Faced with the uncertainty of losing their own jobs, the film’s two central characters are under constant pressure to sustain their livelihood.They share each others solitude in pursuit of a distant dream that visits them briefly every morning.
Begum Jaan
Begum Jaan transports us to the communally-charged time of the Partition, and the ‘butchering’ of India into two parts. The film tells the story of a brothel which lies right in the middle of the proposed Radcliffe line. When two officials, one from the Indian National Congress (Ashish Vidyarthi) and another from the All-India Muslim League (Rajit Kapoor), tell the madam of the brothel, Begum Jaan (Vidya Balan), that she has to vacate, she is defiant and determined that nothing can displace her and her girls from their home.
Begum has full faith in the Raja (Naseeruddin Shah), whose patronage she enjoys, but her hopes are eventually dashed when he tells her the reduced authority of royalty in the new, democratic India. Begum Jaan also subtly shows the ‘what if’ side of the Partition. What if men had taken up arms and refused to be divided on the parochial basis of religion?
Amu
‘Amu’ is the journey of Kajori Roy (Konkona Sen Sharma), a 21-year-old Indian American woman who has lived in the US since the age of 3. After graduating from UCLA Kaju goes to India to visit her relatives. There she meets Kabir (Ankur Khanna), a college student from an upper class family who is disdainful of Kaju’s wide-eyed wonder at discovering the “real India”. Undeterred Kaju visits the slums, crowded markets and roadside cafes of Delhi. In one slum she is struck by an odd feeling of déjà vu. Soon after she starts having nightmares. Kabir gets drawn into the mystery of why this is happening particularly when he discovers that she is adopted.
Meanwhile Kaju’s adoptive mother – Keya Roy, a single parent and civil rights activist in LA, arrives unannounced in Delhi. She is shocked to discover that Kaju has been visiting the slums. Although Kaju mistakes her mother’s response to a typical Indian over protectiveness – Keya’s fears are deeper rooted.
Slowly Kaju starts piecing together what happened to her birth parents and mother and daughter clash as Kaju discovers she has been lied to her whole life. What was the truth? Why was it suppressed? As Kaju and Kabir undertake this quest they both discover their families involvement with a man made tragedy of immense proportions which took place twenty years ago in the capital city of India: the massacre of thousands of people of the Sikh faith. In a searing climax the young people are forced to confront the reality of the past and how it affects the present
Kadambari
Kadambari Devi enters the Tagore household as philanderer Jyotindranath’s wife at the age of nine, only to find herself lonely and sidelined. This lays the foundations for her bond with young Rabindranath — a relationship that grows with them till others start noticing their closeness. It kind of begins and ends with Kadambari Devi (Konkona). Gyanodanandini(Titas Bhowmik) manages to depict her subtle romance with Jyotindranath and her own ego clash with Kadambari with elan. Tagore shared a good bond with his sister-in-law. In fact, there was a lot of talk regarding the relationship they shared as Kadambari committed suicide soon after his wedding.
