Latest news with #Shubhra
Indian Express
6 days ago
- Entertainment
- Indian Express
Discussing dichotomy in Mumbai and All We Imagine As Light at SCREEN Film Club screening at NCPA
Payal Kapadia's Grand Prix winner All We Imagine As Light succinctly captures the dichotomy that populates Mumbai. That dichotomy also cropped up in the post-screening discussion with the audience at the National Centre of Performing Arts where SCREEN Film Club held a screening of the film on Monday evening. The debate primarily revolved around the use of linearity and light — or lack of these thereof — employed in the film. 'The way light is used in this film, every frame has its own meter. Light in the title isn't just physical, it's also metaphorical — the darkness we're living in and the light we're all seeking,' said Shubhra Gupta, The Indian Express film critic, while hosting the discussion. 'The cinematography by Payal's partner Ranabir Das is also a character in the film,' she added. However, an audience member disagreed with the stance and said, 'I felt the cinematography was so unnecessarily dark. I've worked a lot in slums, so I can say there's not so much darkness even inside slums. This is the Mumbai of today,' she said. Other audience members responded to this observation through their reading of the use of the titular 'light' in All We Imagine As Light. 'I think the darkness is very deliberate. These two nurses commute for two hours to work. The only time they live is at night. One of them says that this city comes to life at night. It's so liberating to see the life through them. Otherwise we just see it like we or people like us know it,' pointed out another lady. Another grouse that the lady had with All We Imagine As Light was the lack of linearity. She said, 'The entire film was very disjointed. It wasn't storytelling at its best, I'm sorry to say. Why do the two nurses trail Parvati? Where does the husband come up on the shore?' 'The script doesn't need to follow a linear structure. It's following the emotional health and movement of the protagonist towards acceptance,' countered a fellow audience member. Shubhra also underlined the context by explaining the background of the filmmaker which reflects in the film. 'Payal comes from a documentary background. So her screenplay is very observational. We can't see the cuts and edits like we can do in other feature films. There's just a flow which is very lifelike,' she argued. From her discussion with Payal over the last year, Shubhra lauded the crystal-clear approach that the filmmaker has towards her craft. 'She knows exactly what she wants. Every frame is brass tagged. When you wonder if the husband is real or surreal, she wants it to be exactly like that,' said Shubhra. Also Read — All We Imagine As Light movie review: Payal Kapadia's lyrical ode to working-class Mumbai and female friendship 'If you have a reaction, you'll feel like 'Ye kya hai.' But if you have a response, you'll know what this film is trying to do. We're so distracted now that we can't spend even a minute without looking at our phones,' said Shubhra, adding, 'Instead of saying my way or highway, we learn about different POVs. This film takes us back to what cinema was always supposed to be: to look at life through someone else's eyes.'
Indian Express
21-05-2025
- Entertainment
- Indian Express
‘I've been in debt, bankrupt': Inside an apartment on the 80th floor in Burj Khalifa, the world's tallest building
Imagine living so high up that the city looks like a miniature set from your living room window. That's everyday life for Shubhra, a self-made entrepreneur whose home sits peacefully on the 80th floor of Dubai's iconic Burj Khalifa. But her story isn't just about luxury or height. It's about a woman who built everything from the ground up—facing everything from bankruptcy and betrayal to breakthrough success—now living in the tallest building on Earth. The elevator ride itself feels like a time warp—just moments and you're 76 floors above the ground. But when you step into Shubhra's apartment, the vibe changes. It's not cold or intimidating like you'd expect from a skyscraper. It's actually warm, calm, even a little boho. The interiors reflect a bold Bohemian-maximalist design with curated details like candlelit corners that speak of long evenings with friends. But more than the aesthetics, what stands out is how she describes the apartment: 'It's not about the Burj, it's home. It's where I rest, where I get mind space, where I can be myself.' There are residential units in the Burj up to the 108th floor, and somewhere around the 123rd, there's a resident-only lounge. It doesn't stop there; the rest of the floors have offices. Shubhra didn't inherit wealth. She didn't follow a straight path. What she did was put one foot in front of the other, building a business in the world of live events and global shows. Think massive stages, choreographed chaos, and spotlight moments—from the Commonwealth Games to the IPL and beyond. Her companies now operate across 70+ countries. And while that sounds glamorous, she's honest about the price she paid: 'I've been in debt. I've been bankrupt. I've had legal fights. I've been cheated. But I wouldn't change a thing. The wins far outweigh the losses.' There's no romanticising struggle here—just clarity. Clarity that nothing worth building comes without falling a few (or many) times. Today, she owns multiple companies. But she's not glued to her laptop 24/7. She's just selective about her time. Focused. 'I don't feel guilty about taking time off or being offline. If I'm burnt out, my entire team feels it. So I rest when I need to.' She's seen both sides of the hustle—where you do everything yourself and where you lead teams of hundreds. Her takeaway? Don't just chase money. Chase your peace. She believes that happiness isn't a luxury—it's a tool. A resource that fuels creativity, relationships, and resilience. Shubhra urges young people to stop overthinking and just begin. Because real learning only happens in motion—trying, failing, adjusting, trying again. And again. 'Driving doesn't mean you'll race in Formula One. You just drive. Same with life. Just start moving.'
Time of India
10-05-2025
- Entertainment
- Time of India
Aamar Boss Movie Review: A film about the elderly that has its heart in the right place
India's ageing population is steadily growing, and as joint families fragment and urban lives grow busier, the emotional needs of the elderly are often sidelined. Nandita Roy and Shiboprosad Mukherjee – known for their sensitive, socially aware films like Bela Seshe and Posto – tackle this shifting reality in their latest, Aamar Boss. The result is heartfelt and engaging, though occasionally uneven. The title Aamar Boss cleverly captures the film's essence – a role reversal where an ageing mother asserts her independence, not just as a parent, but as a person with purpose. This duality of affection and quiet rebellion sets the tone. The story begins with Shubhra (Rakhee Gulzar), a widowed, retired nurse with too much time and too little to do. Her son Animesh (Shiboprosad Mukherjee), busy with his publishing job, struggles to be present despite his love for her. Seeking purpose, Shubhra starts interning at his office – only to dream bigger. She launches a startup to empower other seniors, stirring both admiration and conflict at home. The first half unfolds with charm and warmth, bolstered by crisp cinematography. A standout moment features a sunset over the city skyline – a quiet, poignant exchange between mother and son that speaks volumes. However, the second half loses momentum. Comic relief, particularly from Sabitri Chatterjee, offers some sparkle but stretches a bit long. The narrative rushes key developments, leaving certain arcs underexplored. A few forced romantic subplots – and forgettable songs – distract from the core story. Rakhee's return is the film's biggest win. She commands the screen with grace; her expressive silences are deeply moving. Her scenes with Shiboprosad – filled with unspoken tension and mutual respect – are some of the film's best. While Shiboprosad is solid as the pragmatic son, his romantic track doesn't quite land. Gourab Chatterjee and Sauraseni Maitra add youthful energy, and the supporting cast – Shruti Das, Avery Singha Roy, Uma Banerjee, and Aishwarya Sen – shine in moments of genuine camaraderie, particularly among the women. Aamar Boss aligns well with the Roy-Mukherjee filmography. Just as Bela Seshe explored late-life love and Posto redefined parenting roles, this film asks: What does relevance mean in old age? It suggests that retirement can be a beginning, not an end. Yet, the storytelling occasionally feels crowded – multiple subplots compete for attention, diluting the impact. Despite its flaws, Aamar Boss resonates. It's a timely reminder that caregiving is not just about comfort, but about respect, agency, and space. Whether you're part of the sandwich generation or an older viewer seeking representation, the film offers moments of recognition – and quiet power.
