The film is based around a middle-class man, Rajesh (Raj) living with his sister. He is in love with a young woman, and he intends to marry her once he has found a potential husband to take care of his sister. However, one day the sister is raped and murdered and the police are unable to find any clues and it is left to Rajesh to find the murderers and avenge her death. He traces the murderer and kills him, and is therefore now on the run from the police himself. Rajesh abducts a child as a hostage and seeks refuge in a house only to later learn that the child is the son of his former lover, who is now married to a Police Inspector. Rajesh is torn in two - whether to release the child, or to use him to make an escape.

When two lovers separated due to financial circumstance are reunited several years later under one roof, sparks fly and emotions run high. How will they resolve this relationship? . You can read more in Google, Youtube, Wiki


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Ca M (ag) wrote: Always strive to be greater than you are, Jiro showed me how you can even take something as simple as sushi to extravagant levels. The movie does lose it's momentum and then it picks it up once again when they show their sushi methods, but then followed by the repetition you already got bored of in the first half.

naren p (kr) wrote: DisneyPixar pull out another rabbit outta their hat. This bad-guy-wanna-be-good-guy trope through the context of arcade games is very well thought through and executed, and of course ending with everybody-matters. Caution: You have to be a kid-at-heart to enjoy this fast paced movie.

Stefini W (br) wrote: I started watching the series with low expectations, but every movie has left me feeling like a child again, in the best ways possible.The sisterly love in this film, especially, was moving to me, as I have never had a sister.The jokes always make me laugh and I enjoy the character development over the movies, especially with Vidia (whom, in the books, is always a nasty character with no redeeming qualities).

Qaiser S (kr) wrote: "Half man........., half superman..... he is.... Benny The Cop!", loooool, This film is hilarious! very scandernavian humor, broken-english'n all =P, it's a no-brainer so don't waste your time looking at the technical stuff, brilliant acting by Fares Fares and Torkel Petersson. This flick is pure entertainment!

edwin a (jp) wrote: Although he made a number of feature films previous to Damnation, this is where Bela Tarr found his trademark style. It was also his first collaboration with novelist and country man Laszlo Krasznahorkai; a collaboration which continues to this day. The film opens with now trademark Tarr style, watching mining carts travel along with their loads for a few minutes (yes minutes). The camera slowly pulls back to reveal Karrer (Mikls Szkely) shaving. He?s a lonely loser, slowly drinking himself to death at the Titanik Bar. He is in love with and sleeping with the lounge singer there (Vali Kerekes). The problem, however, is that she is married, and has made no secret of wanting to end their affair. That when he asks her why she doesn?t love him, and she replies ?I love you and you know it,? is of no real matter to her. Karrer is offered a smuggling job by the bar?s shady owner. He decides to offer the job to the singer?s husband, who has built up a substantial debt and is in danger of being imprisoned for it. He accepts, and Karrer wins himself three days to swoon the singer. She denies him, nevertheless sleeping with him in perhaps the least passionate sex scene ever filmed. A bitter Karrer decides he will turn in to the authorities her husband when he returns from his smuggling job, leaving her alone and thus making him now the logical option. By the end, the lives of Damnation?s characters will be as broken and desolate as the crumbling town in which they live. Damnation plays as love triangle, grinded out over nearly two hours. Tarr?s long shots and elegantly bleak black and white photography follows ever so slowly the action. The lighting is impeccable, creating ghostly silhouettes, dusty and dim barrooms, and elegant and shimmering light bouncing of the face and hair of the lounge singer. As characteristic of Bela Tarr, the cinematography is stately and assured, breathtaking and deliberate. He films his characters and their town as assuredly and respectfully as possible. The town, and the dogs which walk its streets, hint at the apocalyptic undertones of the film, and transcends all emotions, or lack there of. I have had reservations about Damnation in the past, confident that it was filmmaking at its very best, sublimely atmospheric and tonal, but unsure whether or not just how well it worked, particularly in relation to Tarr?s two formidable masterpieces, Satantango and Werckmeister Harmonies. Those films have something mammoth and intimidating about them: Satantango, with its titanic length, clocking in at over 7 hours, all in the same style and minimal narrative; Werckmeister Harmonies with its bizarre metaphysical underpinnings and suggestive philosophy. Those films have a ground out dreamlike ? or perhaps nightmarish ? quality to them, particular Werckmeister Harmonies. After my fourth of fifth viewing of Damnation, I?m now assured that it does in fact work ? particularly when you avoid getting hung up on Tarr?s other films. I?m also assured of its greatness. Damnation is a masterpiece of filmmaking. It draws parallels with the Italian neorealist films of the 50s and early 60s, as well as the minimalist transcendentalism of the films of Robert Bresson, but all the while invoking a dreamlike quality that keeps the viewer removed at just the right distance for a gritty but transcendent experience.

Michael L (de) wrote: BLUE SUNSHINEHeaven. Simply Heaven. BLUE SUNSHINE is most certainly the first film to slaughter and criticize the boomer, yuppie generation. 1968: A group of Stanford students drop the eponymous acid. Flash forward. 1978: Now professionals living in LA, one by one their hair starts falling out and they become mass murderers! No I am not making this up. Devilishly wonderful with one of the most bizarre performances this side of 1960s Marlon Brando. Zalman King, who later became a noted softcore porn producer, is so bizarre in the central role that in one very serious scene he appears to be sniffing another actors neck. BLUE SUNSHINE is just that kind of movie--an odd delight and a perfect double feature with ANGEL, ANGEL, DOWN WE GO.

andyandyandy a (jp) wrote: Not quite as good as the three that followed (Pink Flamingos, Female Trouble, Desperate Living) but laugh out loud funny all the same. Lobstora!

Andrew U (nl) wrote: This is a well-made, well-acted film...part comedy and part social commentary. The social commentary is so dated and anti-feminist that I had to lower the rating.

Anna (mx) wrote: Not bad, but not that great.

Michael T (de) wrote: I think Giant Slayer is a great movie, people need to lighten up. It's fantasy and CGI. That's the story!

Dylan R (nl) wrote: This movie is amazing! It featured 3 great things:1. dogs2. Italian food3. catchy tunesThree great pillars to an amazing film! This is one of them.