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9 hari untuk menonton

Our Daily Bread

उसकी रोटी | Uski Roti

Diarahkan oleh Mani Kaul
India, 1970
Mengembara di Dunia Filem India


Setiap hari, seorang wanita menyediakan makanan untuk suaminya, seorang pemandu lori, dan menunggunya di tepi jalan. Dia resah memikirkan tentang hubungan suami isteri yang renggang. Dia juga risau tentang keselamatan adiknya. Dia mula curiga terhadap suaminya.

Ulasan kami

Filem cetera pertama arahan Mani Kaul merintis sinema India gaya baru dan mengandungi aksi minima, pendekatan unik dan suntingan yang luar biasa. Jalan cerita sangat perlahan, sesuai dengan cara pengisahan yang tidak bergantung kepada dialog dan tepat menggambarkan taraf rendah wanita India.

Our Daily Bread Diarahkan oleh Mani Kaul Tonton sekarang
Tonton sekarang tinggal 9 hari lagi

Apa yang orang lain katakan?

  • I.Camera's rating of the film Our Daily Bread

    Tonally the opposite of Bollywood fare, Our Daily Bread is slow- moving and reliant on close-ups of both faces and objects. But its 'languid' pace is the point, as two women sit amid the dusty and silent emptiness of their rural landscape, and wait - waiting for a bus, for a husband, for the chance to travel to the town, and for a brighter future. They may as well be waiting for Godot. A classic of Indian New Wave.

  • Jorge Myers's rating of the film Our Daily Bread

    A beautiful, subtle, slowly unfolding meditation on love, women and the human condition. Breathtaking cinematography, with a structure of time-movement relations, which climax in the dream sequence. Aligned with that central interrogation of Hindu thought -¿which the dream, which the reality in our flowing through life?-, a profound metaphysics speaks of and for women through a precise, perfect film aesthetic.

  • psteve's rating of the film Our Daily Bread

    A beautifully realised work: sparse, elegant and deeply moving. One of the best examples of the less-is-more approach.

  • Not A Sexy Vampire's rating of the film Our Daily Bread

    Impressively controlled sparseness of cinematography and sound gives impression of oppressive heat and suffocating boredom, an apt metaphor for the daily cruelties of the patriarchy. Laughter mixed with bird calls and a ripped dress is all we need to understand the complicated nature of this world, the beauty and the horror. A shot of Balo lost in the dust is evocative and deeply allegorical. But its all so stark.

  • Mr. Dude_o_o's rating of the film Our Daily Bread

    Mani Kaul's film reflects his philosophical views. His characters express their sorrow in every silent moment and with long pauses even during their idle talk. Kaul believes that Being cannot transcend sorrow by meditation but maybe by attention.

  • dionysus67's rating of the film Our Daily Bread

    A mesmerizing formal diatribe on cinematic disclosure of dramatic events but without drama. Kaul's approach empties frames from trivial details and helped by the ethnographic and sociological validity of the milieu depicted, he allows physical space to expound into a shape of emotional vacancy, barrier, turmoil, and life's troubled movement. Laconically, it adumbrates women's plight in visually arresting tableaux.

  • josé neves's rating of the film Our Daily Bread

    PC. Curiously more than the European modernists of the 60's (Bresson, Antonioni), i had only glimpses of Dovzhenko's "Earth", the sudden alternations of frame scales, general/near/very close, with a similar sparsity, in narration, rhythm and (non)figurative realism. In sound perhaps Bresson, but more than the out-of-frame, is what by absolute silences is heard/seen. Cinematic matter in full state.

  • Krish sanghvi's rating of the film Our Daily Bread

    Kaul’s cinematography makes each frame a stand-alone scene perfectly reflecting the mood of his characters. Such a unique way of narrating! His films have a common theme- a dutiful wife’s neglected desires and an absent husband. And he loves hands and positioning people. Roti symbolises the sacrifice and role of Indian wives towards their husbands. So Beautiful. 4.5

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