Rotten Tomatoes Critics - Certified Fresh 65%
IMDb Rating 6 10 2,802


Downloaded 22,764 times
April 10, 2019


Anurag Kashyap as Anurag Kashyap
Freida Pinto as Princess Leyla
Riz Ahmed as Zed
Roshan Seth as Suresh Gupta
1.64 GB
23.976 fps
117 min
P/S N/A / N/A

Movie Reviews

Reviewed by Zeech 1 / 10 / 10

Rape is ok - as long as it's the lower classes

No spoilers here, just the tone of this movie which is unbelievable and fake. I'm going back to good ol' Bollywood movies clear of pretension and illusions of drama. We ingested this movie during the #metoo era in 2017. It reads like a plantation story, starting with bunch of culturally illiterate hurrah henrys on a trip in India, enjoying thier 1% status. The main dude is suppose to be half Indian, but doesn't speak or understand his Indian father's language and gets this - is not even aware of basic basic basic things about rural India. So why didn't they put a regular white english boy in the role? An wack attempt to avoid any colonial 'massa' plantation comparisons. This makes for pathetic unbelievable dialog and actions, As a third world boy, I can tell you the first thing you learn to do when you visit the motherlands is to switch codes and not talk to locals like their your boy from back home. This dude also rapes the girl. It's RAPE! Some of us watching (the westerners) couldn't get their heads around this part, which it what the film is counting on (to it's targeted audience). We discussed it and it was explained that, yes today in rural traditional parts of the world women can be raped but not know it. It comes from being subservient and knowing your place (like a good plantation girl or boy). After that incident, the film bores on continuously with lines like 'I'm going to tell my father about us' (really dude? I mean really?). This could and should have stuck to the ol' British kitchen sink film formalua where upperclass twat slumps it in his father's factory by messing with the hot factory hand girl working there. Sure it's been done before but it would better than this boring unbelieveble nonsense. It did remind us of those loser English Language Tutors who go to China, Malaysia teaching and seducing traditional country girls and getting away with the kind of abuse they could never do at home until of course they get their asses kicked by her family. Now that's a story I'd like see on film.

Reviewed by SnoopyStyle 6 / 10 / 10

this should work better than this

Jay Singh (Riz Ahmed) is a westernized Indian. He and his friends travel out into rural Rajasthan and stays at a local hotel. He is taken with villager Trishna (Freida Pinto) performing at the hotel. She and her father are injured in a car accident. Her father can't work and they struggle with the debt. Jay offers her a job at his family's hotel outside of Jaipur. Jay falls deeper in love and one night, he does something which changes everything. Director Michael Winterbottom brings out a beauty from the setting and Freida Pinto is a large part of that. The story lacks a focus that would raise its inherit social commentary and tension. First I would make Jay's hotel much more modern. It needs to differentiate from Trishna's home town. Then there is that night. It's filmed with so much ambiguity that it doesn't really make the point hard enough. This is an adaptation of the classic Tess of the D'Urbervilles, and there is a good parallel between the two social worlds. This movie should work a lot better than this.

Reviewed by l_rawjalaurence 6 / 10 / 10

Indian Version of Thomas Hardy's Tragic Novel

Set in contemporary Mumbai, TRISHNA is the tragic tale of a young woman (Freida Pinto) plucked from a village by a rich entrepreneur (Riz Ahmed) to live the high life, but finds herself very much at his beck and call with very little opportunity for self-determination. The story is an object lesson in how to understand the phrase "all that glisters is not gold," while pointing out the evils of capitalism in the newly-rich world of the Indian bourgeoisie. Michael Winterbottom's film has a fine sense of place, stressing the contrasts between the young woman Trishna's rural origins, her new life in Mumbai and her subsequent decampment to Rajasthan, where she is expected to work as a servant to Jay - the entrepreneur - while being a lover at the same time. The combination of roles proves too much for her, leading to a violent denouement. Jay is portrayed as a superficial character for whom money has far more importance than love; on many occasions the two concepts are deliberately conflated so that he can achieve his ends. Riz Ahmed turns in a fine performance, his facial expressions seldom changing as he returns to India from a prosperous life in London and expects the local people to act at his beck and call. Stylistically speaking, however, TRISHNA is rather irritating. Winterbottom's camera finds it difficult to focus on one particular object or person at a time; the shooting style is jerky, with several fast cuts between one thing and another. This serves a thematic purpose - to underline the superficialities of Jay's existence - but becomes rather difficult to watch. Consequently we find it difficult to sympathize with the protagonists - especially Trishna, even though she is very much the victim of a patriarchal society. Freida Pinto turns in a nuanced performance, but Winterbottom does not allow us to focus much on her facial expressions. The film might have worked better as a tragic love story if he had permitted us to understand her complex state of mind more fully.

Read more IMDb reviews


Be the first to leave a comment