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However, before taking the pills that will put her to sleep forever, she decides to destroy all her memorabilia letters, photographs, newspaper cuttings, knick-knacks pertaining to the past lest they fall into the hands of the press. She has been a victim of media attention all her life and wishes to be spared that at her death.
As she looks through the old box that contains relics from her past, memories flood the night... Incidents that she had forgotten or had relinquished to the furthest corners of her mind now return to haunt her and, through these memories, an entire life is revealed a life of loves lost and gained, friendships and betrayals, successes and failures, accidents and awards, agonies and ecstasies.
Mrinalini relives her past, as night gradually turns to dawn. An azaan (Islamic call to prayer) starts up somewhere. Slowly early morning light fills the room. The moment has passed and the death she had wished for so intensely no longer seems a priority. Her German Shepherd comes and rubs its head on its mistresss feet and squeaks to be let out. Mrinalini smiles, tears up the suicide note and takes her dog out for a walk.
A new day starts. A new life awaits her. A new beginning she has chosen.
Won:- New York Indian Film Festival (Best Director) - Aparna Sen.
Won:- New York Indian Film Festival (Best Actress) - Konkona Sen Sharma.
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Jan 24, 2012
A worthy treat from SenThough not Aparna Sen's best film, I would rate it one of her better films along with Paromitar Ek Din and 36 Chowringhee Lane. I had liked Mr and Mrs Iyer too, but hated The Japanese Wife. Here Sen is once again in her elements with brilliant performances, good music, a strong story-line, and great direction! The ending of the film is mind-blowing, and easily one of the best I have seen in recent Indian films. The only point of grudge is the incomplete use of the song 'Ajana kono galpo bole', and some period details being missing. The huge canvas more or less makes up for these misses, though… (Expand)