Three out of five stories based on corona virus infection are uninterrupted: Naya Safar Center for Lead and Kick Workers. The series, released on Amazon Prime Video, is a sequel to Unbost, which was released in 2020. The new installment shows more awareness of the Govt-19 catastrophe that has befallen the underprivileged. When Govt-19 hit us, it was very shocking that the creators of Anbastu tried to lighten the mood with captivating stories. The results were bad and inconsistent.
Now, everyone has left the stubbornness of the virus and understood the impact of the epidemic on material realities across social classes. One of the non-stop seasons is mostly about the upper and middle class, with the exception of Avinash Arun’s special entry: Naya Safar covers the effects of epidemics on people of different classes and castes. If one of the episodes featuring the UP couple starts on the rise, the fifth and final episode is about the cremation crew.
There is another difference between the seasons. The main theme of the non-stop season is loneliness and the desire to communicate during epidemics. At this point, the theme is working. This is a very useful thing when you look at how the epidemic has turned the economy and our employment situation upside down. People lost their jobs, wages were cut, and many families lost their only working members. The two characters in the two separate episodes, like “a tooth on the wheel”, complain about how they are spent.
The most iconic characters in the series appeared in The Couple, directed and co-written by Nupur Astana, and starring Brianshu Pineuli and Shreya Dhanwantari.
It seems that this chapter was created after the writers saw through some newspaper articles about men being worse at household chores and increasing income inequality during epidemics. The wife pretends to have lost her busy job. Her promotional male husband is coming up with a consumer solution to save the day. He also says the right things to sweeten the deal: “The bad thing is, they’ll bring some normal guy instead of you”.
Shika’s son tries to make a short film as sweet as Gond Kay Laddu. It’s sweet, it’s okay, but it really does not say anything about the infection. If delivery agent Rohan (Laxveer Singh Charan) wants to retain his job, he has to get a five star rating at the end of the day. An accident almost destroys his life until his cunning wife Geetha (Darshana Rajendran) comes up with a crazy solution. Much of Gond K Laddu seems like a long advertisement, especially since his son continued to use Tajdar Junaid’s excessive background score.
read more: Poothakalam Movie Review: Shane Nikam and Revathi’s film moves the psychic drama in the guise of horror.
Non-stop: The best director in the movie Naya Safar is a promotional man. War Room is directed by Ayyappa KM, who has created many award-winning and popular commercials, including the super fun Mahabharata themed MTR Rawa Idli ad, which created one of the earliest memes on the Indian Internet.
How dark the battle room is. Widowed Sangita (Gitanjali Kulkarni) is involved in the search of a school teacher working in the Mumbai Govt-19 battle room, one of many. This is a regular day for Sangita, until one of Sangita’s callers becomes associated with someone who caused a tragedy in her past. Will she take revenge or will she do her job? What is the right thing to do?
The movement of the war room was so controlled that I kept wondering what it took so long for Iyappa KM to take a picture. He co-wrote the story with Anand Menon and Subham and also composed bizarre background music with Karan Malhotra. Dasaduk Hussain filmed the episode in a 4: 3 aspect ratio, the small screen size draws the viewer into Sangita’s complex subjectivity. My only concern in the War Room is how easily the knot tension is resolved.
Starring Saqib Saleem, Ashish Verma and Sam Mohan, Dean Thikada is visible as they are three thieves who have committed a major robbery at an abandoned factory with a large robbery and they cannot escape being locked up. It is directed by Ruchir Arun, an expert on millennial-centric web shows like Netflix’s Little Things.
I do not know what Dean Thikoda’s attempt is. This is a little dark comedy, a little slice of life film. There is dialogue that suggests deep character, but really nothing sticks. Made Coorg and Poignancy is very plastic. A groovy montage was cut to the talk rock track, but Arun did not develop any of its ideas.
Nagaraj Manjule, the Marathi director of the modern-day classic, Fantry and Sired with a Dalit background, plays and directs the final episode of Vaikuntha. The story is deceptively simple: Vikas (Nagaraj Manjule) works in a fiery Vaikuntha (meaning: heaven) hell after sunset. He monitors the bodies, burns them, removes the ashes and warriors without fuss. His advice to his son: “Jiada Maat Soch, Majboot Rehneka”. (Don’t think too much, be strong).
When Vikas’ landlord asks him to vacate his room, he and his son Avinash (Arjun Dattatre Karse) move to a place near Vaikuntha. As Avinash quickly gets used to his new home, Vikas worries about his father who is being treated for Kovit-19 at the government hospital.
The episode is filled with beautiful moments: Vikas and his family members weep bitterly after Vikas and his colleagues cremate their relatives after the police, who drank tea after learning of Vikas’ occupation, burn the ashes near the Shiva painting. They are also afraid to touch the body. Vaikuntha’s warm end reaffirms an important lesson learned over the past two years: Family is everything.