As a director and producer, Anurag Kashyap has carved a niche for himself as someone whose projects are always something to look forward to. Black Friday, Dev D, Gulaal are all in a league of their own. Now, the bad news is that his latest offering That Girl in Yellow Boots is not quite in the same club, but the good news is, it is still streets ahead from the usual weekly fare.

Not meant for those who like run-of-the-mill stuff, That Girl in Yellow Boots is quintessential independent cinema.

It is well-nigh his most controlled film to date: the style, fluid and unobtrusive, complements the theme rather than overshadow it.

Where ‘The Girl In Yellow Boots’ stopped being satisfactory is when I started wanting more, and didn’t get it.

TGIYB, in the end, is a middling effort that has its share of highs, but leaves you unmoved and slightly disappointed.

Well, here’s another masterstroke from Kashyap, ‘That Girl In Yellow Boots’ is a must watch film.

On the whole, That Girl In Yellow Boots will win critical acclaim and the love of a section of the audience but will be shunned by the majority of the paying public.

You may not be able to enjoy the movie, but you will definitely take home a lesson.
A lesson Anurag has clinically passed on with an underlying, chilling message: Children from broken families are always broken from the inside. No matter how tough they appear from the outside.

Even if the story itself leaves you wanting more, the storytelling makes you go the distance.

On the whole, THAT GIRL IN YELLOW BOOTS is yet another outstanding example of independent cinema. This Anurag Kashyap film caters to a more evolved, cinema literate audience. The film may not boast of big stars or may not be very huge on hype and hoopla, but it is a gem of a movie that should be watched for its powerful plot and terrific execution of the written material. Watch this film if you want to see cinema from India beyond the routine Bollywoodish stuff.

So much lower on logistics and ambition. It is, what they call, a quickie: As true for the movie’s subject, as for its unsatisfying outcome.

Yellow Boots, co-written by him and wife Kalki Koechlin, also essaying the ‘Girl’ in the title, is a compilation of abstract frames, which often stir from their surreal state to expose the ugly, upsetting corners of society. The narrative refuses, almost doggedly, to follow a conventional structure. Instead like fluttering pages of a disorderly diary, it is puzzling, self-indulgent, wandering and personal.