An energetic and physically immersed performance compensates partially for an absence of tenor. Mohanan too cannot overcome her rawness and one wonders if this is a fallout of the director’s inability to breach the language barrier. Together their effort might be sincere but the effect of a lack of cohesion eschews the very emotional gravitas Beyond the Clouds works so hard to achieve.

At times Hichki feels too righteous. Loaded with messages from equality, right to education, tolerance to a gratuitous walk through a Mumbai slum with the camera gingerly peeking into the difficult lives of class 9F. Fortunately the story is strongly underlined by the instances of the resourcefulness of the students and the idea that education should not be a one-size-fits-all concept.

The Square is actually the sum of its parts, rather than a seamless whole. Viewers are probably going to pick differing scenes as their favourites. Ostlund arranges these scenes around Christian – a character who constantly looks like he’s about to go off the edge. Claes Bang is fantastic as he faces challenges and weirdness, and he also rocks a dinner jacket.

The narration saunters along such that even a judicious running time of around 100 minutes feels uncomfortably long. Mukherjee manages to achieve a sense of voyeurism, but once you have seen enough of their lives, you leave the characters behind in their milieu without a backward glance…

The 3D part in the film is a waste. The intent behind Welcome to New York leaves many questions – why is the main one. Why 3D, why make this movie, why give Karan Johar a double role, why not use more cameos? Why watch this indulgent snoozefest? That last question is the only one with a clear answer.

Padman is sanitised and sweet, and its message is not just to encourage the use of sanitary pads, but that with the right motivation, imagination and a whole lot of patience you can solve problems with ingenuity

Despite their best efforts, the moments between Bedi and Menon are awkward and though the seasoned Menon throws in all he’s got, even his handlebar moustache looks weary by the end of this sobering slog.

A fellow audience member described it best: It’s like an onion—you cry as you peel it and you can keep peeling it and keep crying, but you can also stop at any time.

‘Kaalakaandi’ is an inconsistent but madcap film, with a couple of terrific performances

This is a film that can bring up the question of how one can stay impartial when afforded this kind of intimate access over two years. But as a passionately told capsule of the birth and rise of a party, as an insight into party politics, while almost voyeuristic, An Insignificant Man is invaluable and fascinating nonetheless. The film stops in 2013, and the present position and future of AAP offers enough drama to be the stuff of a sequel.