The film starts with a chiseled Aditya Roy Kapur doing pull-ups, and then leaves the cell to single-handedly grind the inmates for a really long time. This machismo is just the beginning of all the "mard" and "naamard" (emasculated) feelings that lie at the heart of this film. Each character is on his own journey and commits violent acts in Goa for various reasons. The most unsatisfactory are the big revelations. Sara (Disha Patani), a free-spirited NRI cliché that comes to Goa for a cheaper version of Eat Pray Love, is involved in a murderous misunderstanding. All she wanted was the answer to life's great secret: "Tumhe sukoon chahiye ya mazaa? (Do you want peace or love?) "And go from" one high to another ". But in the end she gets pregnant after doing "wildly wild with a stranger" (a euphemism for sex) and eventually finds Sukoon in Christmas. Today and part of the flashback take place on Christmas Eve, when a carnival, a soccer game in a stadium and villagers from Goa run on a bridge after Christmas mass on the same evening. Malang digital release date in netflix ott is now in news. grab it.
As stretched and basic as the first half is, the second half is everything to show you the opposite, regardless of logic. The high aesthetics of this film (rich in filmmaker Mohit Suri's favorite pictures of things falling from the sky in slow motion) can be overlooked. The most disturbing, however, is the unsubstantiated violence that results from strange notions of misogyny and masculinity. Sexual violence and male engagement phobia are attributed to traumatic childhoods and women only exist to be raped, to take revenge or to be the motivation for revenge.
Is it too much to ask filmmakers and writers not to use rape and sexual violence as action tools in thrillers? Remove the film from all of its "style" and you get an archaic vengeance drama that is made ridiculous by obvious misunderstandings. In some places, the film just seems to be made so that Kapur and Patani can show off their shaped bodies and market GoPro cameras on beaches that look more like Mauritius than Goa. Even Anil Kapoor, who usually manages to save the worst screenplays, becomes a downcast, vindictive cop. The film is unintentionally funny in some places, slightly clever in the second half, and there is evidence of pertinent discussions about encounters and justice within the system, but everything that is eclipsed by the film's many insane arguments that Mazaa will not give you either Sukoon or Sukoon.