While it was supposed to be a centenary cinema event as a tribute to Satyajit Ray, it got lost in pretentiousness because of its awful first two films. Ray was another mediocre Netflix India anthology. And while it might take a little more explicit and perfect entry than this, it’s a delightfully acceptable and warm entrant. Additionally, it has a very layered suggestion of queer representation in more accessible cinema! Change might be gradual, but it’s coming certainly. It uses cinema not as a mere medium but as a device for liberation. Through its protagonist Katie, it tells us very real and lived-in things about the chaotic and often funny nature of a dysfunctional family. While critiquing an increasingly tech-savvy world, it also has interesting points to make about entering into a film school. More importantly, it tries to be a lot more complex and exciting than pondering over its own limitations. It might be less ornate than its biggest counterparts, but that also makes it more eye-catching and original than them. The Machines is a wonderful change of pace. Technology is so preferred by these industry-driven outputs that cinema is almost neglected.
All that is being churned out nowadays is a surge of Disney commercial tropes being rehashed. It’s clear – we’re not getting enough of inventive animated cinema. Related to Best Netflix Original Movies of 2021 – Ajeeb Daastaans Geeli Pucchi Review: The Colors Missing In Our Rainbows The only thing which keeps us from including it in our list is the fact that it’s only a short film. It’s so extraordinary that it might have been her career-best. The short is helped by Konkona SenSharma’s beautiful performance as Bharti. It is immediate in showing the perils of a caste-affirming society.
It orchestrates a twisted story about marginalization.
However, Geeli Puchchi delivers way more than ample bravery. Also, it’s explicitly suggested that she might be homosexual. Her merit doesn’t matter because ultimately, she’s a dark-skinned Dalit woman. It’s essentially a character study of the protagonist Bharti, a woman on the verge of intersectionality. What it gradually dismantles though is way more urgent. It then becomes an almost romantic drama injected by a warm relationship between two women in their workplace. Geeli Puchchi starts out as if making a loud comment on the working class.
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