In the badlands of Delhi's underbelly, Titli, the youngest member of a violent car-jacking brotherhood, plots a desperate bid to escape the 'family' business. His schemes are thwarted by his unruly brothers, who marry him off against his will. But Titli finds an unlikely ally in his new wife, Neelu, who nurtures her own frustrated dreams. They form a strange, mutually exploitative pact to break the stranglehold of their family roots.Wikipedia
Watching the film earlier this week, a whole year after I’d last watched it, the violence still felt stomach churning, and I still came away impressed by the unexpected moments of humor that Behl had managed to sneak into this intense drama. Titli is relentlessly grim and yet unmistakably powerful and moving. It may not be everyone’s cup of tea – it’s especially not for the squeamish – but it’s an unflinching study of family in the way that the movies rarely provide.
You end up feeling for Titli. You want him to break free, and fly away. He shines, and despite its darkness, so does the film. It is harrowing but imperative viewing.
The actors work the scene sincerely but it could have been so much more.Instead, Behl chooses not to look away when a character throws up in a sickeningly long scene, so long it feels gratuitous. Because there’s a difference between showing the retching and the wretched.
Kanu Behl’s Titli is the most impressive film of this year so far. Its tryst with reality will keep you hooked till the end, to say the least. Titli is the latest gem from evolving Indian cinema. Don’t even think of missing it.
Based on a brilliantly layered script and screenplay by Behl and Sharat Katariya, Titli’s plot is linear, but it’s made up of merging, giddy spirals of deceit, lies and crime, all of which are devoted to winding down many lives.
Kanu's first attempt as a director doesn't disappoint, only if the slow moving film could have picked up pace towards its crucial end.
In a film in which nobody smiles, Raghuvanshi’s character embodies the sole ray of hope and the debutante makes no false moves. The same is true of the film as a whole. Titli is an unflinching, insightful chronicle of our times. Do not miss it.
Titli is not for the faint-hearted as it not only introduces you but makes you feel a part of the family that gives you the creeps.
Perhaps it is time Bollywood discards the candy floss version of the great Indian family and adopts this more real, searing version.
Not an easy film to watch, Titli sheds light on a microcosm within a microcosm, where frustration and sheer helplessness dictate actions and reactions. In the end, it all comes down to choosing between a known devil and an unknown devil.
Titli works because it is not just a poignant character study of an angry young man but also an incisive and intense family drama.
As for Titli the film, the future in a mainstream movie environment looks bleak. If you seek entertainment and/or stories with redemption look elsewhere. But if cynicism and hopelessness excite you, this is the movie for you.
TITLI is dark, grim and disturbingly scary. The best part is that director Kanu Behl stays true to the genre, never once veering away from the intended impact he wanted to have on the audience.
Titli ties everything up with a somewhat contrived, fairy-tale-ish ending, but at least the packaging is satisfyingly gritty. In other words, it's like a plate of chicken curry in which the gravy is delicious, but the pieces don’t have as much meat as they should.
A great story (Sharad Katariya, Kanu Behl), good editing (Namrata Rao) and uncompromising execution makes this a film not to be missed.
A word about the absolutely technique-less technique applied to the film. No fancy framing of the shots, none of characters caught in the ‘right’ light….It all unfolds as though Siddharth Dhawan’s camera doesn’t exist and Namrata Rao’s editing was done so quietly the characters didn’t even know portions of their lives had gone missing .An absolutely unforgettable film.