Maska falls between two stools: one part nostalgia, one part how-how-we-do-it-is-relevant-for-millennium. Ah, the fading romance of the Iranian café, the people who spent their lifetime, the sense of the past. And on today’s generation, impatient, with as little emotion as possible to make and sell quickly. The trouble is that you know how it will end as soon as it opens. Beats are familiar. Even though it has a fresh trio of lead, it has no pops and cracks. Rumi’s struggle to get into Bollywood, her acting course batchmate, ambitious Ludhiana girl Mallika (Dutta), a Soulmate companion Satia (Setia), all in a row, the film tells us what she is doing, here Even it is showing us. And only a few Parsis (mad Bava / Bavi) joke. The tell aspect gets too much at times. One character tells the other very seriously: the second is you, I am a story. Even veterans feel underweight. Koirala has a few moments but is busy playing the role of Daisy. Someone needs to give him a role that he can fill. Jaaferi fares better and is the only one that gives us seats. That, and the fact that in today’s time, any film that focuses on the multilingual, multi-religious components that make up India, is welcome. The best parts of the film are full of food, cooking, and eating it: fresh bread-making texture, mascara’s peppery wool, other classic dishes you might find in an Iranian establishment, and golden lights. Up kitchen



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