Filim Cusub Hindi Af Somali Shactiro iyo dagaal | LeeLeeFoow | 2022 from kapoor movie af somali Watch Video

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The character Kabir Singh, or Arjun Reddy for that matter, is basically an updated Devdas, a loser in love, with additional anger management issues, who hits the bottle at the drop of the hat. There’s even a Chunni babu in his life in the form of bestie Shiva who keeps coming to his rescue and appears to have no life whatsoever of his own. In fact not a single character in the apology of a script — from his college principal to the family to the hospital staff — seems to have any raison d’etre other than pandering needlessly to a man, who, instead of any sympathy or indulgence for his “troubled” mind needs some serious treatment and therapy to control the inherent noxiousness he is spreading in the world around him. The entire arc of the film is to somehow make his negativity attractive, explain it away as “unconventional” and have him find redemption despite his unforgivable ways. Well, he is a genius at everything after all, even at performing surgeries when he is sloshed and coked out.<br/><br/>Having watched and balked at Arjun Reddy for its celebration of a misogynistic, infantile bully of a hero, Kabir Singh felt like a doubly suffocating experience. One that makes you feel violated. Devdas at least had the headstrong Paro and graceful Chandramukhi, two beholden women alright but with personalities of their own, to bring some sense of balance to the man-woman game. Here the woman is denied any agency whatsoever. She is a property, marked and owned by the man. She will meekly follow him wherever he takes her, eyes always down, is masochistic in allowing herself to bear with his violent ways. While the soulful ditty in the background plays “tujhpe hi to mera haq hai (I have the right on you)”. He is the protector and the saviour.
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Mysteries and mirages, twists and turns. In the heart of an unforgiving desert, unfolds a gritty thriller, unlike any other., Starring Anil Kapoor, Harshvarrdhan Kapoor, and Fatima Sana Shaikh.<br/>Set in Munabao, a sleepy, parched hamlet near the Rajasthan-Pakistan border, Raj Singh Chaudhary’s Thar is a tribute to American Westerns. It has all the usual elements—blood, gore, violence, an arid, nondescript village lost in time, local gangsters, svelte village belles, an ageing inspector, and a brooding, mysterious stranger. All of it wonderfully supported by stunning scenic visuals of remote Rajasthan.<br/>I am a Rajasthani. I have been raised in the desert state. I know the geography like a native should and yet, I watched Shreya Dev Dube’s skilled camerawork with open-mouthed wonder. Thar’s cinematography is its hero. The desiccated terrain, the barren hills, the omnipresent dust, and the aridity of it all is so palpable, that you can feel the acute lack. Of water, vegetation, humanity. Dubey’s prowess does not just provide the right setting for the drama to unfold, it gives the film its true protagonist and thence the title.<br/><br/>The other thing that stands out about Thar is its depiction of brutality. It’s as savage and unapologetic as the acts themselves. This Netflix film is disturbingly graphic. Even by the standards of Westerns and revenge dramas. Violence begets violence, but be warned, this one shows it all—the severing of body parts, the mutilation, the slow torture, the immolation—up close and in distressing detail.<br/><br/>At the heart of it all is Inspector Surekha Singh, a weather-beaten cop six months away from retirement, played with inimitable swag by Anil Kapoor. His official rank does not justify his acumen for his job and his spirit to do it well. Dissatisfied with his unremarkable, middling career, he wants to go out with a bang. And soon enough, an opportunity plays out. There’s a shootout involving cross-border drug smuggling and a local man is found hanging from a tree, inhumanly mutilated. Surekha spurs into action.
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