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Saturday, January 22, 2022

Unpaused: Naya Safar Amazon Prime Mini Webseries Full and Honest Review

 

Unpaused: Naya Safar Amazon Prime Mini Webseries Full and Honest Review



Quick Glance


Stars: Shreya Dhanwanthary Priyanshu Painyuli Saqib Saleem


IMBD Rating: 8.4/10


Gener: Drama




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Storyline & Review


The most moving image in Unpaused: Naya Safar appears in Nagraj Manjule's previous movie, Vaikunth. Vikas Chavan, a laborer at the Vaikunth cremation, is also played by the filmmaker. The second tidal wave has arrived. The area is swarming with people. Vikas is surrounded by death and smoke for the majority of his day. 


He brings the bodies out of the ambulance, puts them on a pyre, and even fires them when relatives are afraid to approach, before handing them the ashes. He offers a guy a pot that contains the remnants of someone the man knew and maybe loved at one point. 


Vikas places it on the floor. After spraying it, the man picks it up. Even the dead require disinfection. Unpaused: Naya Safar is more of a continuation than a sequel to Unpaused, which was released in 2020. In this 'Naya Safar,' there isn't much that is new. 


Once again, we have a collection of five short stories that explore living in the midst of a pandemic and the myriad ways in which the virus has upended people's lives. There is, however, one improvement. Vishaanu, directed by Avinash Arun Dhaware, was the standout film in the inaugural anthology. 


Vaikunth and War Room, directed by Ayappa KM and co-written by Shubham, who previously authored Vishaanu and the outstanding, award-winning Eeb Allay Ooo, are two of the films in this category. Nagraj immerses us in the monotony of mass death in Vaikunth, showing us what occurs when tragedy becomes everyday. 


Vikas does his duties with unflappable efficiency. He doesn't have an option in the matter. So he eats his supper as this woman screams in the background, and after the day is done, he relaxes with a drink. Nagraj and Sudhir Kulkarni's Vaikunth discover the ludicrous comedy in this bleakness. 


A man is told at one point that he is praying and crying in front of the incorrect body. He is at a different location. Vaikunth's frames are empty of color. Almost every sight is filled with smoke from the blazing pyres. 




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In one, a little child, Vikas's son, is seen doing his schoolwork as bodies burn. It's little moments like this that drive home the scale of the disaster and the extent to which people have suffered.


Despite this, the film's charm lies in Nagraj's refusal to let us despair. Life continues to pulse and survive despite death and sickness. As it did in War Room, another treasure. This film is set in a Covid war room, where men and women are attempting to firefight over the phone. The roof is dripping wet. 


They're trying to share pens since there's an odd scarcity, so they're quickly writing down addresses. An opportunistic political leader makes the rounds, primarily for the purpose of getting a photo-OP. Crisis management, however, persists. Helping sick individuals locate hospital beds, counseling worried families, and providing a ray of light in a dark time are all things I do. 


Sangeeta, played by Geetanjali Kulkarni, is a widowed schoolteacher who now works in the war room. One of the calls Sangeeta receives is about a guy with whom she has a sad personal connection, and she finds herself in a moral dilemma. 


Geetanjali is one of those performers that brings out the best in every scene she's in. Sangeeta is given strength as well as an overarching melancholy by her. Her dignity and sense of isolation are heartbreaking. War Room, like Vaikunth, immerses us in the details of a disaster in real-time. 


DOP Tassaduq Hussain portrays the hardship and drabness of Sangeeta's surroundings, as you may recall from Vishal Bhardwaj's Omkara and Kaminey. Nonetheless, she, like Vikas, perseveres. Given the circumstances, both her own and the world's, this is heroic. 


The other three shorts, Nupur Asthana's The Couple, Ruchir Arun's Teen Tigada, and Shikha Makan's Gond ki Laddu, are unremarkable peeks into people's lives. The Couple is about a middle-class couple whose marriage is strained after the wife loses her job. 


The movie examines how the epidemic has impacted people's lives, including those of rich, educated individuals with prospects. The performances by Shreya Dhanwanthary and Priyanshu Painyuli are good, but the screenplay and directing are generic. 




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Teen Tigada and Gond ke Laddu are also unable to overcome the script barrier. Three low-level thugs are trapped in an abandoned factory during a lockdown, with the stolen treasure they can't sell, according to Teen Tigada. 


However, Ruchir and his cast, which includes Saqib Saleem and Ashish Verma, do not go far enough with this. The most appealing aspect of Gond ke Laddu is Darshana Rajendran, a charming Malayalam actress who you may recognize from Mahesh Narayanan's C U Soon. I'm hoping to see her in more Hindi films in the future.





Final Thoughts


Unpaused: Naya Safar, like other anthologies, suffers from inconsistency. This compilation demonstrates that short filmmaking is a highly specialized art form with its own distinct competence. Unpaused: Naya Safar is available on Amazon Prime Video.

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