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1987's 'Mohre' starts off with a lot of intrigue, but quickly loses it and drags itself over the 104 minute run time. It sets things up pretty well, as we're introduced to the characters of Anupam Kher and Sadashiv Amrapurkar. I like Kher as an actor, he's the better of the two - though they are by far and away the stars, even if Nana Patekar & Co. do solid things in the background. It loses all the interest as the plot progresses, with needless songs and underwhelming character development - I thought it might have got deep given what the film is about, but it doesn't really dig too deeply unfortunately. There is worse out there, but this isn't one I'd say you should rush to see.
12 strangers intended for a bequeathment following the grisly murder of a blue blood descendant, are invited to a secluded mansion located in an unknown island. Where death awaits in the dark to grasp all of them one by one.
This is the story of Amit and Samara - two souls in Mumbai, a city of millions and how the universe conspires to bring them together. This is a coming of age film about how two people are destined to meet but only when their individual lives are ready for each other. Through a chance encounter, a series of coincidences and fates helping hand, Amit and Samaras lives intersect and affect each other. Whether they can find their true paths or not, only time will tell.
At a preview theatre, a young filmmaker waits in the hope of getting his new sci-fi drama certified with ‘no cuts’ by the conservative men of the Indian Censor Board. The board finds a kissing scene in the film beyond the duration stipulated by official, orthodox rules. The filmmaker and board members argue, but when they enter the movie theatre to review the film, the laws of physics begin to disintegrate, sending these men into a world of chaos.
This story looks at the time between the beginning and the end of your life, over time, behind time, and ahead of time, at the same time.
After leaving British Army Ramesh joins a tea plantation as a supervisor, where he is required to harass Indians. Gradually his heart changes and falls in love with local girl and revolts against his British employer.
In his debut feature film, Kumar Shahani employs highly innovative forms for depicting the conflict between oppressive feudal norms and a changing industrial landscape while making female sexuality and its complex mindscape the focus. The protagonist, Taran, the younger daughter of a Rajasthani zamindar revolts against the social code set by the class system by a sexual encounter with an engineer. This film was one of the earlier and successful examples experimentation in colour during the advent of New Indian cinema.
Three womanisers find a baby left at their doorstep. Chaos ensues as they try to contact their former girlfriends to determine who is the father amongst them.
Shankar is married to Gauri, but she has the brain of a child and does not accept him as her husband. She changes her behaviour and lives the life of a wife after attending the wedding of her friend.
A puzzling investigation leads a no-nonsense cop down a dark path involving the vicious rivalry between twin sisters and the volatile man they both love.