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.

Whether Titli, the reluctant brother, transforms into a butterfly and flies away or not, there is certainly no escaping from Behl’s non-apologetic, brutal and bloody tale.

Titli stands out because of its performances and riveting first half. It is dotted with abuses and violet scenes so go for it only if you can stomach reality that isn’t sugar-coated.

Titli isn’t a run-of-the-mill Bollywood film designed merely for the purpose of delivering entertainment. It poses questions, lays bare uncomfortable truths, and delivers sledgehammer blows.

Titli must feature on your must-watch list of movies simply because it will be a long time before you are treated to such superb performances and effective storytelling at the movies again.

Go watch this film now! But again we must warn you that it is not for the faint hearted. You will get some food for thought after watching it, we gurrantee. Prepare to battle with some uncomfortable questions about your existence later.

Unrelentingly grim, morally unmoored, Titli festers like a sore on your consciousness. Misleadingly funky second trailer notwithstanding, it’s unlikely to be anyone’s idea of fun. Yet, from time to time, it’s important that a film like this get under our skin and remind us why we value catharsis so much.

Perhaps morality is the privilege of a few, it seems to say. Whether you agree or not is irrelevant; what matters is whether the film talks to you and moves you. And this one does significantly!

Titli pretty much says what it has to say in its two-minute trailer. After that it is like the follow-up slides in a presentation that elaborate on each point. The expansion could have added a lot of value, but doesn’t quite do it.

Titli seems to be made with the single-minded objective of leaving audiences with an unsettling feeling-A constant discomfort that can’t be shrugged off, like a nasty itch at an unreachable part of your back. If this is what you seek from cinema, book your tickets now.

No family is quite happy in Behl’s imagination. Least of all the overtly happy one – that of Prince. You know that all the loving is built on a foundation of lies and delusions. Despite that the film does try and leave us on a note of change. Titli talks to Neelu about starting all over again in their relationship and rebuilding their family from the scratch. A talk that comes loaded as much with hope as it does with scepticism. There can be no clean ends and closures in the world of Titli.

Titli isn’t a run-of-the-mill Bollywood film designed merely for the purpose of delivering entertainment. It poses questions, lays bare uncomfortable truths, and delivers sledgehammer blows.

The movie is about Titli and his decisions — does he break free or does he join his brothers in a bleak life mired in violence and crime? Behl doesn’t compromise while addressing these issues and the talented cast doesn’t hold back in their portrayal, making the film gritty, engrossing and undeniably top-notch.

Bahl and Katariya have written a potent script that believes in conveying without many words. It is amazing that none of the characters have a backstory that was forcibly incorporated to add substance to the script. Good writing is so holistic that it paints the right picture without meandering and still manages to keep it wholesome. It is commendable how the film’s vision is never myopic and is always intact on the narrative. The homosexual relationship is never excavated but is observed when blatantly suggested. The multiple dysfunctionalaties leads way to a delicious story.

Stripped of its class dimensions, however, the movie has a raw power and imagination. Behl and Katariya wash off the gloss, dishonesty and sentimentality that have clung to depictions of the Indian family and reveal a face that is ugly but also commonplace. Above all else, Titli is a horror movie.

Watch Titli for Kanu Behl’s neat story – telling, flawless acting by every character and most of all, the story about a thousand ‘Titli’s’ in an anxious bid to better their lives.