âTribhangaâ (the last âGaâ is pronounced, but not with a long âaaâ sound), an Oddisi dance pose that is crooked and asymmetrical, represents Kajol here. The product of a wholly dysfunctional family, Anuradha Apte is âmooh-phutâ (blunt), good at heart, a believer in God despite a troubled life, and mercurial.
Her problems stem from a traumatic childhood in which her writer-mother Nayantara Apte (Shweta Mehendale) has left her husband (unknown actor) because her obsession with and success as a writer led to a certain neglect of home and childrenâborn, we are later informed, sans passion. The boy is Robindro (Vaibhav Tatyawadi as adult).
Kajol in Tribhanga (2021) | Netflix
When the movie star Anu sees her novelist mother Nayan comatose in hospital, she has a decidedly unsympathetic reaction. Perfect, snarls Anu, she’s in a silent zone.
At least it’s better than the time Anu shoves Nayan and tells her, I hate you, you are a sick woman.
Behind this seemingly irreconcilable estrangement is a complicated family history, forged by hard choices and unintended consequences. Renuka Shahane’s
Tribhanga is at its most affecting when it examines the spontaneous reactions of its characters to their circumstances. Constantly taunted by her oppressive mother-in-law and let down by her effete husband, Nayan (Tanvi Azmi) walks out of her marital home with her children Anu and Robindro.
Director: Renuka Shahane
Itna pyaar hai mere bachchon mein aur itni badhi khaai unke aur mere beech mein. Kabhi kabhi sochti hoon kaash yeh mere kirdaar hote, phir mein unne apni manchahi disha mein le jaati, says Nayan (Tanvi Azmi) before she takes a brief pause and continues,
Aur phir woh mujhse pyaar kartey. Kaash mein apne aapse rishton ki kadwahat mitta paati.
There s pain in her voice, there s hope too. Off the screen, director Renuka Shahane holds the power to mould her characters in her Hindi directorial debut
Tribhanga, and boy, she does her part exceptionally well!
What s Yay: Performances, Direction, Writing