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In Nupur Asthana’s The Couple, a pitch-perfect Shreya Dhanwantari and Priyanshu Penuly depict a young, urban marriage between two workhorse professionals, navigating their respective careers around the new normal – WFH (work from home). .
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|Available On||Amazon Prime|
|Running Time||2:30 Hours|
|Released Date||21 January 2021|
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Taking almost time out for snacks and snails, Shreya is Alpha while Priyanshu cries and works hard.
She has her sounding board and shoulder to shoulder, that’s her surprise package.
But when a pink slip is thrown on the beautiful (and posh) picture, the change in the dynamics of electricity takes place over their heads.
Whether insecure or unavoidable, it is lightly explored in the slice-of-life segment of Asthana’s life, which is about city couples who are deeply immersed in the upmarket lifestyle and their privileged, high-rise. Awaken the culture working inside the cocoon. Even though it points to people who have it too bad, The Couple doesn’t tell them about their better situation.
Rather, Asthana sympathizes with her hero and understands the challenges of those trapped in an unprecedented scenario.
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By staying indoors indefinitely without any social interaction, the majority have turned into sharp, anxious insomnia, the microscopic vision of a statistical astana only remembers very well, resulting in some intense confrontation as well as heartfelt reconciliation. Occurs.
Ayyappa KM’s War Room offers a view on COVID-19 volunteers actively engaged in answering SOS calls and finding hospital beds for patients in need of immediate medical intervention. Ever since the epidemic began, it has dominated every day and to the point of numbness, especially for those who are constantly affected by it.
But the cold, clinical reserve of Kovid War Room Karmi (Gitanjali Kulkarni) who became Maths teacher is not some defense mechanism.
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Full of symbolism and sensitivity, War Room is a haunting shot story of reluctant revenge.
In the conflict between an unjust mother and a dedicated volunteer, a woman realizes her better decision that she needs to return.
The War Room is vague about the exact nature of the internal turmoil of its character and is at least interested in revealing the verdict leading up to the final glorious scene.
The profound depth of Gitanjali Kulkarni’s artistry is expressed in piles. Even half his face is covered with a mask, the powerhouse expresses the amount of emotion.
The ritual of giving ‘fire’ to the body on the pyre is important. It makes the journey from ‘dust to dust’ real: for many, the harmonization of loss begins at that moment. But if you are happy to burn someone else’s pyre because you are afraid of being infected, where does he leave you? And how can a child escape the final state of the ‘cremation’ pier? The likes of Manjula’s actors – the faces that look like they are made of clay – make the whole thing authentic, and make the section poignant and dynamic.
The presence of Gitanjali Kulkarni can lift anything. In ‘War Room’, she plays a schoolteacher working in a Covid crisis center, who hopes: Please give us your number, we’ll call as soon as a bed is empty. Her companions who sit on either side, running doctors and supervisors, ‘government babus’ who come for ‘inspection’ and a self-critical selfie, revive an overloaded system struggling to keep up with Is a deadly virus.
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There is a reference to exchanging money for a hospital bed to play in some parts of the country at the height of the crisis last summer. There is a volunteer who spends all his time fixing his broken glasses, ignoring the phone at his desk. Phones never stop ringing. And Kulkarni, who in his character, within a short period of half an hour, is a burden brought on by personal tragedy, even though he is facing a difficult moral dilemma: Can you take a life for a lifetime? The ‘War Room’ gets a little messy when it comes to this point, but Kulkarni makes your time totally worthwhile.
Now, everyone has resigned to let go of the stubbornness of the virus, and come to terms of the impact of the epidemic on material realities in social classes. While Avinash Arun’s excellent entry, Unposed: Excluding the New Journey, The Unexpected Season one mostly belonged to the upper and middle classes, covering the effects of the epidemic on people of different classes and castes. If the episode featuring a Yuppi couple starts in a high rise, then the fifth and final episode is about a cremation ground worker.
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There is another difference in the seasons. The main theme of the non-stop season was loneliness and eagerness to reach out and join in during the epidemic. This time the theme is work. A more meaningful topic is how the epidemic turned the economy and our employment situation upside down. People were left without jobs, wages were cut, and many families lost their only working members. In two separate episodes the two characters complain about how they are worth spending, like “a swamp in the wheel”.