He is the only important character aside from the two leading ladies. Rajit Kapoor's extended cameo is worth it. Using classicals makes things poetic for her, even though they hardly last for a short while. Though her character needed a little push from sentiments and a conversational dilemma.

With solid experience in cinema and stage over the years, Deepti Naval hardly goes wrong. It might have been a problem if she had to speak Hindi dialogues, but thankfully, she has only English dialogues. Kalki Koechlin's make-up goes wrong sometimes as she looks too milky white (sort of Dracula level), or is she so milky already? I don't know. Goldfish has two stars and full marks to both of them for carrying the entire film on their shoulders. Goldfish couldn't go past a certain level and seemed like a narrow-visioned film.

And why was that Goldfish's metaphor used hardly twice, and that too in not-so-important scenes? There is nothing wrong with using such metaphors, but it's awfully wrong if you can't explore them to their full potential. But my question is, What has it got for classes? A modern take on relationships and unspoken problems? That's certainly not enough. 98% of the dialogues are in English since the film is set in the UK, which also keeps it thousands of miles away from the Indian masses. The blackouts were supposed to work as punctuation for this narration, but they end up making a full stop and breaking down the entire structure. Goldfish may have a strong subject, but it has an equally weak screenplay. But will they both speak up and share their inner thoughts with each other? Is it really that difficult to speak to your own mother or your own daughter about your own life? Some modern idealistic mindset is at its core, as Goldfish dives into an ocean of difficult and salty water. Anamika has a past grudge against her mother, while Sadhana has some secrets that would end this years-long revenge drama at once. She wants to go out and make a career but is tied down at home by her mother's sensitive disease. Sadhana is suffering from dementia, and Anamika is quite fed up with her disease.

Goldfish takes you into a UK house where Anamika (Kalki Koechlin) is living with her mother, Sadhana (Deepti Naval). The disturbing emotional state of both characters brings some effectiveness, while the rest of the show seems stretched and useless. The basic idea of Goldfish could have worked some other way, but here it's terribly slow. I won't go back to Mohanlal's Thanmathra or Ronald Colman's 'Random Harvest,' where memory loss destroys a sweet relationship, because that has nothing to do with strained relationships or any human metaphors. Sunil Sukathankar and Suchitra Bhave made a classic like 'Astu' that held my breath for an hour at least, and Hemant Rao had his own tale of Alzheimer's, 'Godhi Banna Sadharana Mykattu,' in Kannada cinema. Memory loss diseases have often been used to describe family issues, and they are relatable too it's just that we have had enough of them. Hypothetically based on Goldfish's short memory term, this family drama meticulously delves into a strained relationship between a daughter and her mother, but somewhere it loses the stream and its basic metaphor. Goldfish Review: Pushpan Kripalani's Goldfish features Kalki Koechlin and Deepti Naval in the lead roles.

Gold fish