Three hospital workers navigate love, loneliness and precarious housing in Mumbai. A journey to a coastal village gives their friendship room to grow and their private desires space to surface.
An affecting portrait of women making room for desire, with colour, restraint and companionship carrying the drama.
4 providers · 3 critic inputs · 1 audience input
The available critic average is 9.4/10 and audience average is 7.1/10. These groups differ substantially; the combined score should be read alongside their individual ratings.
Published comparable ratings, normalized to ten. Critics carry 80% and public audiences 20% when both groups exist; an available group carries 100%. Providers are equally weighted within each group. Approval percentages and personalized recommendations are excluded. Publications may overlap with aggregator inputs, so this is a provider-level estimate, not a count of independent reviews. Coverage is limited to the researched sources.
| Provider | Group | Native | Out of 10 | Weight | Contribution |
|---|---|---|---|---|---|
| IMDb | audience | 7.1/10 | 7.10 | 20.0% | 1.420 |
| Metacritic | critic | 93/100 | 9.30 | 26.7% | 2.480 |
| NDTV | critic | 4.5/5 | 9.00 | 26.7% | 2.400 |
| The Guardian | critic | 5/5 | 10.00 | 26.7% | 2.667 |
Contributions use full precision, then the total is rounded to one decimal. Provider weights are not based on vote counts. Published aggregators can include the same reviews as individual publications; overlap cannot be fully removed without their underlying review lists.
The Film Nagar method ↗Our craft assessments draw on written criticism. They are separate from the public consensus above.
Interwoven desires give everyday decisions weight.
Reality and imagination share a coherent emotional purpose.
Kusruti makes withheld emotion legible.
Colour gives ordinary places psychological depth.
Patient transitions favour accumulation over surprise.
Displaced voices enlarge the visible city.
Payal Kapadia connects romantic uncertainty to the practical pressures of work, housing and migration. Prabha, Anu and Parvaty inhabit the same city differently; their growing solidarity gives this episodic narrative its emotional centre.
The strongest evidence for the film's achievement lies in its precise, modest gestures. Kani Kusruti's restrained response to a gift from abroad makes absence tangible, while the blue city palette and separation of voices from images complicate an apparently straightforward realism.
The later coastal passage makes space for wish and imagination. That movement is persuasive as emotional release, although its symbolism is more familiar than the specificity of the Mumbai scenes. The measured rhythm rewards attention to changing relationships rather than dramatic surprises.
Expressive restraint and carefully connected emotional and physical spaces.
The coastal release is less distinctive than the urban detail.
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