Kalki Koechlin and Naseeruddin Shah ‘Waiting’ Moive Poster Out
source : Zoom TV Twitter Acc.
Waiting, directed by Anu Menon, is all set for a grand world premiere at the Dubai International Film Festival (DIFF). Produced by Ishka Films and Drishyam Films and starring Kalki Koechlin and Naseeruddin Shah in lead roles, it will be screened in the ‘Cinema of the World’ programme of the event that will take place from December 9-16.
DIFF, which is in its 12th edition, will once again roll out the red carpet for the best of Arab, Indian and international cinema. Many critically and commercially-acclaimed Indian movies have been screened at the festival over the years; from the award-winning Court (India’s official entry to the Oscars) to Yash Chopra’s hit Veer-Zaara.
Waiting is Anu’s second film after London, Paris, New York (2012). It is about the special relationship between two people who are different from one another, but find solace and support in each other in the face of a trying situation. A warm and humorous life-affirming story representative of urban India and its ethos, it also features Rajat Kapoor, Suhasini Maniratnam and Arjun Mathur.
Short Story :-
Naseeruddin Shah ’s character Professor Shiv Natraj has been waiting in the hospital for eight months hoping that his wife, Pankaja (Suhasini Mani Ratnam), would rise from her coma and smile, demanding her favourite biryani (steaming hot, please), which her hubby gets from his club where he goes to watch his favourite game, cricket. Also waiting at the hospital is Tara Kapoor (Kalki Koechlin ) — young, sexy and brash — whose husband, Rajat, (Arjun Mathur), is also critical with a brain injury after a road accident.
So, while Natraj lives in hope, often frustrating doctors with his deep medical knowledge that he picks up from scientific journals, Tara is angry and cannot believe that this terrible thing could have happened to her, and just weeks after her marriage.
Menon, who now lives in London, has a fairly good grip on the narrative (the story grew out of a personal loss, she tells this writer) and succeeds in holding viewer attention — though the movie tends to sag a bit towards the end when it struggles to think of something fresh to keep us all going.
The generational contrast between Natraj and Tara is presented with a lot of humour. What is Twitter, asks Natraj, a question that foxes Tara. She thinks hard for an answer, and comes up with one. It is a notice board where one collects followers, thousands of them, she says. But soon realises the hollowness of it all, for not one of her followers is there at the hospital to comfort her.
Which Natraj does with warmth, humour and a sense of confidence that probably comes with age and life experience. In a brief contrast to the tragic grimness of the hospital, Menon takes us to Natraj’s house one evening where he plays an LP record for a little dance with Tara, the music bewildering his neighbour who is wondering what could have happened to the staid professor.