BFI London Film Festival

Tu Mera Sunday LFF Review

Milind Dhaimade’s Tu Hai Mera Sunday is a charming little surprise of a movie. This story of five amiable friends in Mumbai trying to navigate a little football time for themselves isn’t really attempting to re-invent the wheel – and this allows the film to relax long enough to breathe some life into the characters that inhabit it, such as the rather mysterious figure of the old man suffering from dementia (Shiv Subramaniam, perfect) who becomes the catalyst for most of the events that drive the narrative.

None of these people are strangers to those familiar with the classic Hindi film “Bombay milieu” – there’s Jayesh (Jay Upadhyay, funny), the well-to-do Gujarati who wants to get away from his noisy, religious family that bores him well-nigh to madness; “Bawa” (Nakul Bhalla, affecting), the Parsi who is surrounded by the slowly crumbling ruins of his cultural past as he tries to comprehend his present; Domi (Vishal Malhotra, competent as ever), the Catholic mummy’s boy who could have been a musical success; Arjun (Barun Sobti, charming), the upper class, clean cut, “hero” type whom everybody loves but acknowledges is a slacker. However, this is a movie whose camera chooses to linger just that extra moment to capture the fly in one’s favorite sweetshop, so the last friend is Rashid (Avinash Tiwary, stellar), who wonders whether any of the girls who’re happy to go home with him at the end of a date would be equally happy to accept a proposal of marriage from a Muslim.

Tu Hai Mera Sunday is a movie that carries its liberality lightly and therefore feels more relatable and true in a way that the holier-than-thou lectures unleashed by hypocritical mainstream Bollywood stars are not. When one of the friends argues that the girl he likes is “not like the girls” Rashid takes home with him, he very matter-of-factly points out that there is nothing wrong with the girls he dates either. At another point, a man confesses that he chickened out of confessing his feelings because he wasn’t sure if he could provide the girl he loves with all the luxuries she wants out of life – only to have her retort that she is well able to get those material luxuries for herself and is simply looking for someone who cares for her (Shahana Goswami, total package as always). In fact, for a movie that’s all about five boys in need of a playground, this is a movie that embraces its women – from the happily married upper class woman obsessed with the perfection of her child to the middle class deserted wife striving to raise her deaf boys to the best of her ability to the woman navigating an inter-religious relationship.

Billed as a movie about creating space for oneself in the great urban sprawl that is Mumbai, Tu Hai Mera Sunday is equally a movie about living one’s life in a city where it is easier to live a routine. Dhaimade is a talent to watch.

Tu Hai Mera Sunday (You Are My Sunday) had it’s World Premiere at the  60th BFI London Film Festival, as part of the festival’s Love Gala on 15th- -16th October.

Review by Amrita Rajan. You can find more of her work on her blog or follow her on twitter!

The Imitation Game Review and London Film Festival Preview

As the London Film Festival rolls onwards, we are joined by writer, producer, DJ Shai Hussain and talk about the movies we are most looking forward to as well as give short thoughts on the ones we have already caught like Jason Reitman’s Men, Women and Children and Justin Simien’s Dear White People.

Our main review is the opening night’s The Imitation Game starring Benedict Cumberbatch, Keira Knightley and Matthey Goode based on the life of mathemetican Alan Turing and how he worked on cracking the Enigma machine and helping the allies defeat the Nazi regime during WWII.

Here are some of trailers of the movies we covered during our chat if you haven’t seen them yet:

As always download and subscribe to our Podcast in the links below.

You can find more of Shai’s work on

LFF 2012: Dreams for sale / Yume Uru Futari

Their dreams are for sale

A young and in-love couple Kanya (Sadawo Abe) and Satoko (Takako Matsu) see their restaurant burn down in an accident and their savings are wiped out by a compensation claim. Not knowing where to turn or what to do. Kanya has a drunken one-night stand with a woman he meets on the subway, and emerges from it with a cash windfall. Once she’s able to forgive her husband, Satoko sees a solution: she pushes Kanya into feigning marriage proposals to a series of vulnerable women, fuelling them with hard-luck stories which persuade them to part with their savings…

First off, I really liked this film. Not having seen any of Miwa Nishikawa’s other 3 movies I can’t say where this one ranks, but it makes me want to watch them. Gentle accoustic guitar accompanies the opening shots, showing domestic bliss, boredom and banalities. This shot is echoed much later in the film once the whole episode has unfolded and played out. If like me you look at the scenario above and think “bloody hell, this cannot possibly work out well” then you’d be right. And you’d also be wrong.

Dreams for sale addresses themes of love, marriage, revenge, growing up, what it means to be in a relationship and how easy it is to be hurt by someone, especially when you love them – and with much skill. I will put this down to great performances from Sadawo Abe and Takaku Matsu, in conjunction with a great script. There are some seriously telling lines and scenes. Sadawo brings so much to Kanya’s character; moments of joy, comedy, terror, helplessness and slapstick (literally). And with Satako, Matsu shows us cunning, loyalty, despair, leadership and forgiveness. At the heart of the movie however is love between the couple and no matter what the hair-brained, ill-thought schemes, both Sato and Kanya are clearly in love with one another, despite a couple of wobbles along the way.

As the film draws to a close and the inevitable conclusion of their fraud is revealed, yet more sacrifice is required to save their relationship. I can’t really say much more than that without spoiling the thing – just trust me. With a running time of 137 minutes, this doesn’t technically qualify as a gem of a film and if I was being harsh I’d say a few minutes less would serve it well…but that is being picky. It’s set at pretty much a perfect pace and it suits the character of the film. Not one for switching-off to, but wonderful in any case, it left me feeling just a little bit heart broken.

Director-Screenwriter Miwa Nishikawa
Producer Kayo Yoshida, Matsuda Hiroko, Nishikawa Asako
With Sadawo Abe, Takako Matsu, Lena Tanaka
Japan 2012
137 mins

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