Hindi Film Tathastu Download Free
Sandra Dunemn
Ravi is arrested and taken to court. The judge takes a very lenient view of the situation based on the hostages' evidence and sentences Ravi to a light sentence of six months. DCP Rane leads the applause from the entire court as Ravi looks on. The film ends with Gaurav playing cricket and his parents watching him.
Synopsis: "Tathastu 2: An Acid Attack Crime Thriller " is an emotional and inspiring short film that delves into the profound journey of a survivor of an acid attack. Building upon the themes of the original film, this sequel takes a closer look at the indomitable spirit and strength of individuals who have experienced such heinous crimes.
The film follows Meera, a young woman who was once a vibrant and ambitious individual, until her life took a drastic turn after an acid attack left her disfigured and emotionally shattered. Struggling to cope with the physical and psychological scars, Meera has secluded herself from the world, fearing judgment and rejection.
"Tathastu 2: An Acid Attack Crime Thriller " encapsulates Meera's inspiring evolution from a survivor to a warrior, highlighting the power of inner strength and the importance of community in overcoming adversity. The film aims to shed light on the often-ignored issue of acid attacks while spreading a message of hope, acceptance, and resilience.
Through powerful performances, evocative visuals, and a poignant narrative, "Tathastu 2: Unveiling Resilience" encourages viewers to challenge societal norms, fight against injustice, and embrace compassion and inclusivity. Ultimately, the film serves as a reminder that every individual has the right to dignity, love, and the opportunity to rise above any circumstances.
Tathastu Part 1: Tathastu Part 1 is a powerful short film that sheds light on the devastating consequences of acid attacks and the resilience of its survivors. The film follows the story of a young and ambitious woman who dreams of a successful career and a fulfilling life.
Her life takes a tragic turn when she becomes a victim of an acid attack orchestrated by a spurned admirer. The attack leaves her physically and emotionally scarred, challenging her in ways she never imagined. The film explores Meera's journey as she confronts the aftermath of the attack, the physical pain, and the psychological trauma she endures.
"Tathastu Part 1: An Acid Attack" also addresses the societal issues surrounding acid attacks, raising awareness about the need for stricter laws, societal change, and the importance of supporting survivors. The film highlights the immense courage and spirit exhibited by Meera and others like her, who refuse to let their attackers define their lives.
Through the woman's inspiring journey, "Tathastu Part 1: An Acid Attack" aims to spark conversations and empathy, shedding light on the plight of acid attack survivors and advocating for a more inclusive and compassionate society. The film serves as a call to action, urging viewers to stand against such heinous acts of violence and support the survivors on their path to recovery and justice.
Impressed by the stylish Dus, directed by Anubhav Sinha, I walked into the movie hall expecting Tathastu to be better. Five minutes into the film, I realised it was a copy of the Denzel Washington-starrer, John Q! I stayed on. Washington had, as usual, performed well. Would the now polished Sanjay Dutt [Images] do justice to the character?
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A helpless Rajput meets his wife Saroj (Amisha Patel [Images]) at the hospital. Needless to say, she wants her son at any cost. Her husband is left with no option but to take the law in his own hands. He holds 30 people hostage in the hospital's waiting room, on the condition that his son is treated.
Gulshan Grover [Images] and Anoop Soni are wasted in their small, insignificant roles as cops. The only saving grace is Jaya Prada, as a doctor. And another good thing just one song in the entire film. More songs would have simply increased the length of an already dragging production.
The horror drama revolves around an immigrant nanny whose dream of an American life is shattered when she discovers a shocking truth. The film stars Anna Diop and Michelle Monaghan in significant roles.
When Anubhav Sinha must've thought of remaking Nick Cassavetes' Hollywood film JOHN Q. [2002; Denzel Washington], his intentions were extremely noble. The story of a father, who could cross all limits to save the life of his child, can strike a chord with any person living in India or Timbuktu.
But the problem with TATHASTU is that it comes too late in the day. Meaning, as viewers, we've already witnessed innumerable movies on roughly the same subject, of a man's lone fight against the system. Only the issue keeps changing in film after film.
TATHASTU's underlying concept has a great deal of relevance in today's world. With a number of medical institutions beyond a common man's financial reach, the message this film intends conveying is pretty evident at the start itself.
But writers Yash-Vinay's screenplay is divorced from reality and that's why the film cannot be taken seriously. From the moment Sanju storms into the hospital and takes over, believability goes out of the window. There is no way that a lone man, untrained in fighting and with only a small gun, could take over the wing of a hospital, hold off the entire police force and turn into an instant hero while threatening to kill innocent people.
Even the political angle that's juxtaposed in the narrative -- a top politician wanting the heart transplant, failing which the government would fall like a pack of cards -- is another spoke in the wheel. Showing politicians as slimy and spineless may've suited the writers, but it just doesn't suit the mood of the film. In fact, the entire political drama, including the finale when Lalit Tiwari, the conniving politician, suddenly appears on the scene, looks like a screenplay of convenience and a complete compromise from the writing point of view.
Director Anubhav Sinha is letdown by a script that is actually real, but has been presented in the most unreal manner. Also, the proceedings tend to get too grim after a point. And when hope surfaces in the end, you don't want to jump with joy either. Cinematography [Ravi Walia] is okay. Given the premise of the film, there's no scope for music [Vishal-Shekhar] and the lone qawwali that has been injected is strictly okay.