Kalyan Ram Kathi

Kalyan Ram Kathi

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It is about Rama Krishna (Kalyan Ram), a football player whose sister goes missing. The rest of the movie is formed by why she is missing? who has cheated her? how will Rama Krishna solve the problem? . You can read more in Google, Youtube, Wiki

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Kalyan Ram Kathi torrent reviews

Dariush A (ru) wrote: Consistently funny with the cool Maz Jobrani humor stretched over an entire movie. His observations of Iranians and also right wing Americans are spot on. More people should see it so they don't fall for the current xenophobia of Republican candidates fanned by Fake News.

Gimly M (ag) wrote: Dom Hemingway as a movie has far too little going on, but Dom Hemingway the character (as played by Jude Law) is great. It's a shame he is so under-explored.

Brett A (gb) wrote: This was, at the time, the oddest movie I ever watched....

kivernitis I (au) wrote: This film has got to be ranked as one of the most disturbing and arresting films in years. It is one of the few films, perhaps the only one, that actually gave me shivers: not even Pasolinis Slo, to which this film bears comparison, affected me like that. I saw echoes in the film from filmmakers like Pasolini, Fassbinder and others. I had to ask myself, what was it about the film that made me feel like I did? I think the answer would be that I was watching a horror film, but one that defies or even reverses the conventions of said genre. Typically, in a horror film, horrible and frightening things will happen, but on the margins of civilized society: abandoned houses, deserted hotels, castles, churchyards, morgues etc. This handling of the subject in horror is, I think, a sort of defence mechanism, a principle of darkness and opacity functioning as a sort of projective space for the desires and fears of the viewer. So, from this perspective, Hundstage is not a horror film; it takes place in a perfectly normal society, and so doesnt dabble in the histrionics of the horror film. But what you see is the displacement of certain key thematics from the horror genre, especially concerning the body and its violation, the stages of fright and torture it can be put through. What Seidl does is to use the settings of an everyday, middle class society as a stage on which is relayed a repetitious play of sexual aggression, loneliness, lack and violation of intimacy and integrity: precisely the themes you would find in horror, but subjected to a principle of light and transparency from which there is no escape. It is precisely within this displacement that the power of Seidls film resides. Hundstage deals with these matters as a function of the everyday, displays them in quotidian repetition, rather than as sites of extremity and catharsis - a move you would encounter in said horror genre. One important point of reference here is Rainer Werner Fassbinder. Fassbinder also had a way of blending the political with the personal in his films, a tactics of the melodrama that allowed him to deal in a serious and even moral way with political issues like racism, domination, desire, questions concerning ownership, sexual property and control, fascism and capitalism etc. Seidls tactic of making the mechanisms of everyday society the subject of his film puts him in close proximity with Fassbinder; like this German ally, he has a sort of political vision of society that he feels it is his responsibility to put forward in his films. During a seminar at the Gothenburg Film Festival this year, at which Seidl was a guest, he was asked why he would have so many instances of violated, subjugated women in Hundstage, but no instances of a woman fighting back, liberating herself. Seidl replied that some may view it as immoral to show violence against women, but that he himself felt it would be immoral not to show it.

Bryan P (nl) wrote: I want my time back. They wasted almost a year making this. Doesn't make me feel better.

Stuart K (ag) wrote: Directed by Ken Loach, who after a slump in the 1980's, had returned with a vengeance with Hidden Agenda (1990) and Riff-Raff (1991). He returned with this dark comedy-drama written by Jim Allen, who had worked with Loach on Hidden Agenda and Land and Freedom (1995), it's a film which despite things going wrong for it's protagonist, still has a sense of hope about it. Bob Williams (Bruce Jones) is on the breadline, and struggling to find work, his schemes with friend Tommy (Ricky Tomlinson) to make money have varying success, and then his van is nicked. All he wants to do is to raise enough money so that his daughter Colleen (Gemma Phoenix) can have a brand new dress for her First Communion. He tries to keep the news that he literally has no money from his wife Anne (Julie Brown). He tries to get advice from local priest Father Barry (Tom Hickey), who tries to convince Bob to get a second hand dress, which he staunchly refuses to do, he's determined to raise the money to get a brand new dress for his daughter. It has some brilliant naturalistic performances in it, Jones, who got the role of Les Battersby in Coronation Street because of this film, is brilliant. He's stuck in a quandry, and is determined to get out of it. The film won the Grand Jury Prize at Cannes in 1993, and it rightfully deserved it too.

Jason R (fr) wrote: An unqualified masterpiece. Three fearless performances, and three and a half hours of fascinating Parisian bohemian ennui. How did Leaud manage to appear in seemingly every great movie made in Paris during this period? And is there a better actor in the history of the cinema? On the flip side, it seems to me there are far too few Bernadette Lafont performances to revel in.

Ryan V (es) wrote: A superb Vietnam movie, that deserves to be remembered alongside Platoon and Full Metal Jacket.

Lindsey W (de) wrote: If I could give this movie negative stars I would. The 95% rating had me very excited to watch. Oh how disappointed I was. The acting is forced and sloppy. Stills and scenes of winter, at an attempt to be artsy and imaginative (I'm assuming) come off as pretentious and unnecessary. The plot is ok but has plenty of holes left unfilled by the end of this waste of two hours. Don't be like me and let the 95% critic rating trick you into watching it.