Reviews

Contains Spoilers

Missing is a Japanese film about a six-year-old girl, Miu, who disappears while walking back home. What makes this movie stand out immediately is where it chooses to begin. Instead of focusing on the kidnapping itself, the story starts three months after Miu has already gone missing. By then, the shock has settled, routines have returned, and the tragedy has become something the family is forced to live with every day.

The film gives us a perspective we don’t often see in kidnapping stories. Rather than dramatizing the moment of loss, it throws us into the quiet aftermathwhen the case is no longer breaking news, when hope and despair coexist, and when grief becomes almost chronic. Life continues for the world, but not for the people directly involved.
We are shown multiple perspectives, and they depict human emotions in an incredibly honest and uncomfortable way.

Miu’s mother, Saori, is portrayed as emotionally unstable and deeply desperate to find her child. She is consumed by guilt for letting Miu walk home alone that day so she could attend a concert by her favorite boy band. That guilt follows her everywhere, amplified by cruel and malicious online comments that constantly remind her of her “mistake.”
Saori is a fascinating and painful character to watch. She moves through layers of emotiondesperation, hope, anger, resentment, guiltand sometimes she appears almost “crazy.” But the film makes it clear that this is not madness; it’s grief in its rawest form. She struggles to understand why others, especially her husband, don’t grieve the way she does. She is willing to do anything, push anyone, endure anything for Miu’s sake, and she can’t accept that others cope differently. At the same time, there’s a part of her that wants someone especially her husband to blame her, because blame might give her something solid to hold onto. She never rests. Every second is torture. Through Saori, the film shows us the overwhelming and conflicting emotions a mother lives with in a situation like this.

Miu's father, Yutaka, is a more passive figure, contrasting with Saori's frantic efforts on behalf of Miu. He struggles to express his desperation, illustrating another aspect of grief that the film aims to convey the internal suffering that can be difficult to articulate, rather than outward expressions like shouting or crying.


Alongside the parents, we follow Sunada, the reporter covering the case. He faces pressure from the TV network to sensationalize the story, to “add spice,” but with no leads and no progress, there is very little he can do. Sunada wants to believe he has integrity, that he is showing reality rather than chasing ratings. Yet he is also fighting an internal battle—watching younger colleagues rise in their careers by bending the truth, while he remains stuck.
What makes his character compelling is that the movie doesn’t paint him as purely right or wrong. While he claims he wants to help the family, we slowly realize that part of him is also trying to help himself. He pushes the parents at times, crossing emotional boundaries, and eventually he is forced to confront the uncomfortable truth that maybe he was lying to himself about his intentions all along.

The story also introduces a possible suspect: Keigo, Miu’s uncle and Saori’s brother, who was the last person to see Miu and allowed her to walk home alone. Everything initially points toward him, making him one of the most intriguing characters in the film. Layer by layer, however, the movie reveals the truth about him, challenging our assumptions and showing how easily suspicion can destroy a person.

Beyond its characters, Missing makes a powerful statement about society. These cases may capture public attention for a while, but eventually they fade away. People move on. The news cycle moves on. But the parents don’t. They remain trapped in a nightmare that never ends. From the outside, it can even start to look unreasonable that they “can’t move on” and if we’re honest, most of us have been guilty of thinking this way when we’re not directly involved. The movie forces us to confront that uncomfortable reality: the gap between public reaction and a parent’s lived experience.
As the film progresses, we see how support slowly disappears. The people who were once actively helping begin to fade away, leaving the parents increasingly alone.
It’s a deeply emotional and heavy movie. The ending wasn’t what I wanted, but maybe it was what we needed. Not all stories end with answers. Not all pain is resolved. Some losses don’t end you simply learn how to live with them. And that lingering feeling is exactly what Missing leaves you with.

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Do you often view the world with rose colored glasses?

I watched this movie initially when I was much younger. But I don't think it fully registered what it was I was witnessing. I remember asking myself why this particular movie was so highly regarded as opposed to other horror movies. Now as an adult who has dealt with life and trauma, I've come to realize how intricate this story is.

With Takashi Miike, you either get a really entertaining movie with obsessive amounts of boundary pushing like Yakuza Apocalypse or you get a movie that has interesting layers like First Love. Now that I fully engaged with this movie, I have thoughts about it's intentions.

First of all, I don't think it's a horror movie in a normal sense. I think it's more of a movie about traumatic events and it's status effect in society. Not only that but the culture of people in Japan in general. When you are watching this movie, Takashi is very deliberate with the types of angles he's using and what they are trying to convey. Many of the early shots in this film are from a very far distance. The imagery is very dreamlike.

I immediately noticed that he was trying to convey this sense of desolation. Like these characters were sitting just opposite of each other at small tables. But the distance felt incredibly large. A reflection of conversations between people who are not actively engaged for various reasons.

I noticed the small quick cuts that signified later that something was incorrect. I'm not sure if that was deliberate but they seem to happen during the key scenes. So I'm more inclined to believe it was deliberate. The wonders of watching older film lol. The lightning becoming more and more dissonant everytime an ugly truth was revealed was very well done. It was a very stark contrast to earlier more dreamlike sequences. When the true backstories are revealed, we get this up close, angled and harshly lit scene. It was like a small hell. You could see the uncomfortable squirming of Aoyama. Very indicative of how Japan's society views these discussions.

There was a impressively blocked scene in the diner when Asami was talking about her parents and family. Later it was revealed that what we heard was just a lie. A fabrication of memories by Aoyama. When we examine the scene, there was a glass window frame surrounding Aoyama. Everyone is gone. It was as if he was living in a glass box.

He is not only hearing and seeing things through distortion but there's a wall between him and Asami. This can be seen in two ways. First is the lies he is telling about the movie being cancelled to hide his true intentions. The second being what I mentioned above about the narrative flip of the actual story Asami told. And now that I think of it, a third thing is how to Asami feels trying to convey her story to deaf ears.

This story to me, is that it's trying to tell us how we relate ourselves to the plight of others. This is how I interpreted Audition. The society of Japan from my knowledge is hospitable in the open but behind closed doors there's a real disconnect when it comes to truly helping someone. The societal hierarchy creates a very uneven balance of power. Despite Japan's culture of being for the group rather then the individual, it suffers from lack of true empathy. It is a story lamented by many newer generations and foreigners who come to live in Japan.

As with many countries, men are predominantly the ones seen to be in charge. Asia has a real problem coming to terms with outdated male roles in society. It's very abundantly 1950's nuclear family oriented still to this day.

There has a been a greater push to revisit this and change course in many countries around the world and Japan is no exception. This movie being created in the 90s heavily shows that sort of distortion. From the way the auditions are handled to how the men treat the women characters. The damage done in this movie is heavily female oriented.

I want to acknowledge that most of Takashi Miike's movies tend to do this as well. Is he trying to say something about feminist views? Or do scenes of violence against women get included because of shock value? It's hard to tell with Miike sometimes. That's why I find his filmography fascinating.

Now when it comes to the characters, we have a very strong contrast of characters. Aoyama having lost his wife, takes on the responsibility to raise his child alone. You normally would find this to be a noble characteristic, however let's dive deeper.

One thing I found interesting is a throw away line where his son Shigehiko, mentions he is afraid of women. I find this interesting because the role of a single father is to be able to teach things like this. Social interactions are heavily tough when it comes to opposite sex. This is probably my headcanon but how a child reacts to things can be directly correlated to the mimicking of their parents. I feel like this further showed Aoyama's mind set when it came to women.

Of their interactions with women, they seem very much like they are just objects to them. They are there to fulfill a purpose, to be eye candy. It's fairly honest to say the script is definately leaning to the misogynistic side. There's a scene that represents this when Aoyama is inside Asami's home and he imagines the various women he knows trying to pleasure him. This leads to his disgust with himself. It's a visually great concept being shown.

Asami is shown as being weak and feeble. Her quiet voice, her small frame. Even the color choice for her wardrobe being all white, the color of purity. I found it interesting whenever she was wearing colors other then white the context of the scene. For instance her taxi scene with Aoyama. Her red coat felt like a signal of lust. But not her lust, his lust.

By the end of this movie, I felt really sad for Asami. I think that is the heart of this movie. Despite what she had done, her actions seem just. Her final dialogue at the bottom of the stairs was just heart breaking. I have a general theory why she chooses to cut off the feet of her victims. I mean it's obvious but her feelings of being alone are deep seated.

Destroying feet is the only way to stop people from leaving her. It feels like it draws back to her time as a child when she was constantly being left alone, only to be tortured by her (step? I can't remember) father. These ideas resonated the core values of this movie to me. Yes it's shocking, but it has purpose. Tongues because of things people said to her.Ears because they never listened and fingers because of the inappropriate touching.

It's a lot to unpack but I'm glad I can see these things now as an adult. I now can appreciate how the movie is seen. Hopefully my write up stirred something in you to think about when you watch horror as a medium.

This has been my medium sized review through a modern lense lol.

Thanks for reading!

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Great Comedy But Short on Romance

I watched this out of boredom and didn’t expect it to be this funny and entertaining!

It’s about a married couple whose once-beautiful love story turns into a nightmare. They constantly fight and hate each other so much that they decide to get a divorce. They’re given 30 days to finalize the decision, but an accident causes them both to lose their memories.

Through flashbacks, we see how they originally fell in love. However, because of misunderstandings and poor communication, they end up forgetting why they loved each other in the first place. The bad memories eventually outweigh the good ones.

Despite the premise, this movie is more of a comedy than a romance. It felt a bit lacking in the romance department. I wish we had seen more depth in what they loved about each other beyond “he’s cute” or “she’s pretty.” I kept waiting for a scene where they rediscover and actually verbalize the good things they love about one another, something that could mirror the court scene where they list everything they hate about each other, but it never comes.

The ending is fine, but I don’t like that it ends with Nara still not getting her memories back. It feels incomplete because we never get to see her decision once she remembers how much she hates him, or whether that hatred softens after forming new, happier memories.

The two leads, Kang Haneul and Jung Somin, have great chemistry and solid comedic timing. The rest of the cast also delivers strong performances.

Overall, I had a lot of fun with this, and it genuinely made me laugh. 8/10 ⭐️

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When First Love Lingers

I didn't expect the ending to turn out the way it did, but I think that’s what makes it resonate so strongly with viewers. Rather than offering a neatly wrapped conclusion, the film leaves a lingering sense of bittersweet realism that stays with you long after it ends. It’s the kind of ending that makes you reflect on the choices, regrets, and missed opportunities in life, tugging at your heartstrings in a way that feels authentic and deeply affecting. The mixture of nostalgia, unresolved longing, and quiet acceptance creates a profoundly human experience, reminding us how fragile life can be and how the people we hold dear can leave a lasting impact on our hearts.

One thing I always struggle to understand in dramas and movies is when a character continues holding onto a past love for such a long time. From a viewer’s perspective, we learn of Poong Woon Ho’s fate at the same time as the female lead. As the story unfolds, it feels as though Poong Woon Ho simply ghosted Na Bo Ra. In a situation like that, wouldn’t someone eventually decide to move on? Yes, Poong Woon Ho was a great guy, but if someone suddenly disappeared from your life with no explanation, would you really continue holding onto them? After the initial stages of grief in a relationship, most people would eventually reach a point of acceptance and realize that someone who vanished without explanation may not be worth such a deep emotional investment. Na Bo Ra does attempt to go on a date, yet her lingering feelings constantly pull her back to memories of Poong Woon Ho.

Maybe I’m being nitpicky, or perhaps Na Bo Ra is simply the type of person who loves only once. Like figures such as Betty White or Terri Raines, once they found their prince, they never felt the desire to look for another. Perhaps Na Bo Ra was the same way, but considering the fact that their relationship never truly began, it makes her unwavering devotion harder to fully understand.

What I didn't like, however, was Na Bo Ra’s lack of honesty upfront, caused pain for multiple characters. While I understand that Kim Yeon Du was sick and dealing with her own struggles, it felt as though Na Bo Ra was surrendering and handing Poong Woon Ho to Kim Yeon Du when she wasn't really in a position to be making that decision for anyone. Much of the conflict could've been avoided if Na Bo Ra had simply said something like, “Sorry, I thought you were referring to Baek Hyun Jin.” Even if she didn't want to reveal everything, admitting that she was following the wrong person would've prevented some misunderstanding. This lack of communication created avoidable emotional damage and weakened the narrative at times.

Despite these frustrations, Kim You Jung and Byeon Woo Seok had great chemistry. Their performances made the emotional buildup feel natural and believable. You could clearly see the progression of their feelings, from small moments filled with butterflies to the gradual realization that they were genuinely in love. This strong chemistry is one of the film’s greatest strengths, as it makes the eventual tragedy of their relationship more impactful. I also appreciated how the audience goes on the same journey as Na Bo Ra, slowly uncovering what happened to Poong Woon Ho, which adds an emotional layer to the film’s ending and helps explain why she remained so deeply affected by her past.

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A Violent Story of Connection

The Man from Nowhere does not shy away from violence. The film is extremely graphic and bloody, using gore not just for shock value but to emphasize the brutality of the criminal world it portrays. If you can tolerate or appreciate this level of violence, the movie offers a gripping and emotionally grounded experience.

Cha Tae Sik becomes isolated and a shut in after the death of his pregnant wife. He lives a lonely life running a small pawnshop, and the only real human connection he has is with Jung So Mi, a young girl in his neighborhood whom he quietly helps and looks after. Their bond grows out of mutual loneliness rather than explicit familial ties, and So Mi gives his life a sense of quiet meaning.

Due to Jung So Mi’s mother becoming involved with criminals, both she and Jung So Mi are kidnapped by a group involved in drug and organ trafficking. Cha Tae Sik makes it his mission to save Jung So Mi at any cost, a desperate effort fueled by his guilt and inability to save his own family.

Won Bin as Cha Tae Sik is perfectly cast. He brings physical stillness and emotional depth to the role, and his limited dialogue is compensated for through expressive body language and intense screen presence. His performance makes the character’s fatherly, protective instincts feel completely convincing, even without overt emotional speeches.

Kim Sae Ron as Jung So Mi delivers a strong performance, especially considering how young she was at the time of filming. She brings vulnerability and resilience to the role, making Jung So Mi more than just a plot device.

Beneath the bloodshed lies a story about loss, guilt, and the quiet power of human connection. The chemistry between the two leads works exceptionally well, and the emotional bond that develops between them feels genuine even though it is never explicitly framed as familial. Their relationship becomes the emotional heart of the film. While this is not a movie I would likely rewatch due to its extreme violence, it is absolutely worth watching at least once. The action scenes are also beautifully executed.

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"Us, meeting like we did, wasn't a coincidence. It was inevitable."

This movie took me in a totally unexpected journey. I expected a cute romance featuring an artist but I got so much more than that. I grew very attached to both characters and what they were going through. The fact that their love for Art intertwined with their relationship was amazing. Visually there were some beautiful moments as flowers were an essential points for the romance : the symbolism was super powerful.

The acting was very solid and brought me a lot of feelings...It was my first time watching the leads (Nagase Ren and Deguchi Natsuki) and they really impressed me. It felt very sincere and pure, without overacting but rather appropriately measured.

I would recommend this to people looking for an impactful romance, very sweet and cathartic. It is both light and heavy, and it will take you on a very emotional journey. It broke me but at the same time was healing.

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Hard pass

If I had watched this movie when I was around 10 years old, I can easily see myself loving it. It has all the elements that would feel exciting and emotional at that age and would probably seem like a great story. But watching it now, in my 30s, it definitely feels very different.
This live-action adaptation of a manga includes many elements that work well on paper but feel unrealistic once translated to the screen. At times, it makes you stop and think, how does this even make sense? Personally, I think this wasn’t a great manga-to-live-action adaptation. That said, it might simply be because, at this age, those puppy-love, middle-school romance stories don’t hit the same anymore.
If you asked me now, I’d rate this movie low in terms of story. However, I do appreciate the funny manga-style scenes—they brought more comedy than romance, which I actually enjoyed. Once again, I think this movie might work better for a younger audience. If you’re around 10–15 years old, you might really like it.

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Movies where the protagonist gives their all to be the best at their art gives you the kind of rush you can't really feel anywhere else. For a second, you feel it makes sense why he's ready to make a deal with the devil just to shine on the stage. Because he's THAT good. But oh, he's so lonely. But it's the consequences of being the 'national treasure '.

You can tell the makers believed in the art of Kabuki to make it all looks so outstanding. The story is simple, tackles some issues such as how nepotism can ruin talented individuals but what makes the movie good is it's immersive nature. I couldn't look away from the screen. I think that was the point because it's a story about actors who do everything to look beautiful and so was this film was like that.

Our protagonist is flawed, he does dirty things but that is because dirty things have been done to him. But the movie never uses that to justify his action, instead reprimands him but you cannot help not feel bad for him as well. That's when you know you are seeing a nuanced character because he's so humane.

Of course, the acting by the two main leads was wonderful. I lowkey watched this for my boy Soya.

9/10

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A must watch !!

Scarlet Innocence was the second Korean movie I ever watched, and I found it completely by accident while looking for something to watch. The poster immediately caught my attention, and I’m so glad it did. Honestly, I don’t understand people who rate this movie low, because for me it was beyond exceptional .
The story is about revenge but not the kind you can easily judge or blame. It’s the kind of revenge that makes you uncomfortable because, in a way, you understand it. The story is captivating and intense, and it shows sides of human nature that we don’t like to admit exist. It’s cruel, emotional, and very real.
One thing I truly loved is how the movie portrays revenge from a woman’s perspective. Women don’t always scream or act loud. They are silent, but their punishments are often the most painful. When a woman takes revenge, she weaves a spider web so carefully that you don’t even realize what’s happening until you’re completely trapped—and this movie shows that perfectly. The revenge unfolds slowly, quietly, and stays with you long after the movie ends.
The cinematography and casting were perfect. And Esom—she was incredible. She is such a talented actress, and like many others, people fail to recognize just how versatile she is. Not many actresses can pull off a role like this so convincingly, and she absolutely nailed it.
This movie left a strong impression on me, and it’s one I won’t forget.

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My biggest fear in the future......

Watching No Other Choice felt like a two-hour-long panic attack. It’s a Park Chan-wook masterpiece, but man, it is stressful. Seeing the protagonist, Man Su, work so hard for 25 years only to get tossed aside like literal scrap paper was way too real. The way he tries to climb back up the social ladder by basically "eliminating" his job competition is some of the darkest, most twisted black comedy I’ve seen in a while. It’s one of those movies that makes you laugh, but then you immediately feel bad for laughing because the desperation is so palpable.

As someone who is about to graduate and head into the workforce, this movie tapped into my deepest fears. I kept thinking about what the world is actually going to look like after I get my degree. The film shows this unforgiving, soul-sucking corporate system where you’re just a number, and honestly, it’s the ultimate "worst-case scenario" that I pray never happens in real life. Seeing the threat of AI and international acquisitions lurking in the background made the whole thing feel like a horror movie disguised as a thriller.

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Incessant Product Placement

Whew! I've been on the verge of giving up my Korean Drama addiction because, so far, so many new series have been duds. At first I thought LOVE NEXT DOOR was better, but now I'm having second thoughts.

During the first half of this series, the male and female leads–played by two well known heart throbs--were mostly believable, especially Jung Hae-in who can make anything work.

The plot lurched off the rails in a few places, with enough crying and carrying on to deplete Korea-'s entire stock of menthol tear sticks. The parents, especially Seok-ryoo's mother acted crazy and abusive (and not in a fun way).

The actress who played Mo-Eum was winsome and likable, but she overacted. I liked her, so I liked the character. But I couldn't warm toward Seok-ryoo in this drama--she was just too arbitrary and cruel.

Let me just mention one other minor character, the ML’s mother. This woman loved her son, but she allowed someone else to raise him. She loved her husband, but she never learned to cook. Instead she’s had a wonderful, professional life–traveling the world and learning about other cultures. And how does this series present this unique woman? As someone who deserves punishment, someone who’s about to lose it all--friends, family, and her marriage. The subtext is clear–if insulting to modern women.

The incessant, in-your-face product placement disappointed me the most. I thought episode 11 was bad, but in episode fourteen, one of the leads actually shows the label on the can to the camera and says, "I had no idea alcohol tasted this good."

There were at least three major bouts of alcohol consumption (and product placement) in episode 14. Apparently, the writers aren't even trying to be subtle.

Nothing against alcohol here, but I really resent the cheap commercialization. Hey Studio Dragon (and you too Netflix)--please don't go down this path.

Why are Jung Hae-in and Jung So-min who are both incredible actors damaging their artistic reputations this way?

Throughout, the writers created trivial excuses and pretexts for various main characters to go on a bender. Whatever the problem–minor spats, bad news–hey, let’s all get drunk. It just seemed like the writers were looking for any chance to push the products.

Still...until the whole series fell apart toward the end, it was mostly watchable. The leads did a good job and hit all the right notes for a good, solid romance. I wasn't looking for high art, but the constant (and obvious) viewer manipulation ruined this one for me.

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Everybody needs somebody

I just watched this at the movie theatre and it left quite the impression on me.

My critisism
The story telling in itself was very westernized, if you watched a lot of Japanese movies you will know. It's mostly in the little details or how things are resolved in the end. Japanese movies of this kind tend to leave more open endings and room for interpretation. I won't say more since it would be a spoiler.
Despite all the characters -apart from Brendan Fraser's- being Japanese, their actions did not seem very Japanese a lot of the time (especially in regards to skinship) and it felt simply strange how good their English was, even if they are in a big city like Tokyo. For example Brendan's character made the effort to speak Japanese really well (and great respect to the actor himself for doing that!), but then suddenly people switch back to perfect English, as if there is no need for him to even learn the language. Maybe it was done on purpose, but still it makes the characters less genuine to me, unless you gave them a backstory with a good reason for their perfect English.

What I enjoyed
The heartfelt interactions between Brendan's character and his clients and his reactions after he realized he can do something for them and they also help him in a way. The moments with the little girl Mia and the old actor Kikuo Hasegawa really made me feel for them.
The movie itself pays respect to a lot of aspects of Japanese culture and Shinto belief, but I'd still see it as an outside perspective. We take a glimpse at Japan through the eyes of a foreigner, who has lived there for quite some time, but is still trying to figure out a lot of things.
And can I say I just love Brendan Fraser as an actor?! You can see he put a lot of effort into portraying this character and trying to help viewers understand the motives behind people using these services.

In the end to me the message was:
Everybody needs somebody who's on their side.
I believe everywhere in the world people are in need of companionship, it just seems only in the Japanese culture this longing is being expressed in the unusual way of renting a person. But just because it is a service that comes with a financial transaction, does it mean it's not real?

Overall a quiet, sometimes funny, and very touching story about people and loneliness.

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Wow.

First movie of Kim SeonHo and "portraying" as a villian. Applaud!!!! 👏
The story of this drama is good!!!
I honestly thought he was the villian. Bahaha.
His smile BRO. HOW. LIKE. BRO. I MELT WHENEVER HE DOES THAT.
i literally finished 'Can this love be translated' and I just can't get over his iconic smile. Those dimples. Ah man. Too hot!

Anyways, the drama. I love it. I love the plot. How they have to find Marcos for something and Marcos looking for his father to help him with his financial issues.
His mother needing surgery.
The way SEONHO speaks that line... thaT TAGALOG LINE. Man. I LOVE YOU.
"Hoy pre, ngumiti knaman dyan. Hinde ka mamamatay. Ako bahala ako.".
The accent. Cheffed kissed. BAABAHHA.
I wish Marcos had some filipino lines as well as he is KOPINO. And he lives in the php...
I LOVE THE ACTION SCENES. Even though it was too brutal for me.
I love Marcos big brother. Hes so fine too. And the way he protrays his characters. Gj!. Go ARA. OMAN. I MISSED HER. THOSE STEERING SCENES. OKI WUEEN
I. C. U.
Regardless. I finally watched this drama.
And i totally enjoyed it.
Kim seon Ho's smile bro. I cant get over it. It may look scary on some scenes.. but damn. Deep down. I know hes laughing on himself. Abahha.
Spoilers.
Spoilers.
For myself purposes ONLY
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Yung ending. TanGINA. ANG GANDA. ESpecially when he thought mamatay sha. Gagu nya. Pumunta sa di nman licensed n drugstore. LOL. I DIED THERE.
HEALTHY C BOSS.
ANother one is. The way HE USED MARCOS to actually get the 10m
And actually not kill the main perpetrator.
Cuz sabi nya. Pick the one whos strong and good witted.
Man. I love that.
He showed his villian side while actually being the protagonist.
Man. I ♡ u.
The little girl tho. Wtf. Wala nman kwenta. Abhaha. Anyways. I LOVE IT.
GOOD MOVIE!!!
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214PM
12526

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A movie that shows the seasons in life passing beautifully

I started off with this movie with zero expectations but I really liked the trailer, so I had decided to just watch it. Half the movie has passed and I find myself in tears. Its such a beautiful story. Doesn’t just encompasses the main characters but involves the side casts well with their individual short and sweet storylines. That’s the beauty of the movie along with the beautiful scenic moments from the village, importance of family eating and celebrating festivals together and how its not always necessary to be related to someone by blood but rather likeminded well wishers who get along well and become families.
Its a sweet slice of life movie with a happy ending and even the comic timings are well portrayed. The entire cast fitted just right with their characters and I am so glad I just gave this one a watch. Recommended for everyone who loves a good heartfull movie to watch sometimes that don’t require you to think so much but rather just put on this and enjoy a 2 hours of roller coaster ride of emotions all together!

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