Lamhaa Movie Reviews
4.0
Nishtha Bhatnagar | NewsX
Rahul Dholakia's Lamhaa is certainly worth the excitement it has been creating for the last many months. As Bipasha Basu rightly put it in one of her interviews, Dholakia's Lamhaa brings to light the fact that Kashmir is more than just a political crisis. The beauty of Lamhaa lies in its all encompassing character. It captures human emotions, strife, conflict, manipulations and vested interests in great vividness. However, that also becomesRead full review3.5
Nikhat Kazmi | Times of India
From the communal cauldron of Gujarat 2002 to the scarred battlefield of Kashmir, filmmaker Rahul Dholakia carries forward his tryst with political cinema with a refreshing seriousness and gravitas that defies the demands of commercialisation. If Parzania portrayed the nullity of communal violence with extreme sensitivity and pathos, then Lamhaa is a no-holds-barred look at the multi-layered turmoil in Kashmir, with so many real-life referencesRead full review3.5
Sukanya Verma | rediff.com
Words like hope lose all their credibility when pitied against interminable crisis. Dark determination is the only avenue of outliving this inexplicable lifestyle of constant dread and irrefutable injustice in a state once said to be designed by the Gods. A rare beauty destined for ruin, Kashmir's [ Images ] saga of suffering is horrifying beyond imagination. Accustomed to this legacy of affliction, a brutally tortured captiveRead full review2.5
Indo-Asian News Service | NDTV Movies
Everyone, says someone important in this searing document of our times, is playing politics in the Kashmir Valley. In a milieu of all-pervasive politics, thank the lord for a creative voice that can look into the burning Valley with dispassionate compassion. Lamhaa is one of those docu-dramas that could have easily toppled into the territory of over-statement and over-simplified politics. And boy, haven't we seen that happenRead full review2.0
Minty Tejpal | Mumbai Mirror
When you set out to make a film on a realistic event, it makes sense to centre it around a specific incident, since capturing the entire historical truth isn’t possible, and if you do manage, it may turn into a documentary. After the hard-hitting Parzania, which had a gut-wrenching true story as its emotive spine, Rahul Dholakia directs ‘the untold story of Kashmir’, except Lamhaa only tells us everything we already knew.Read full review2.0
Sarita Tanwar | Mid-Day
From the beginning, Lamhaa was positioned as a film that would reveal the untold story of Kashmir. That's a good premise, considering the state is always in the news. With National Award winning director Rahul Dholakia at the helm, you expect the subject to be original and the treatment novel. Sadly, Lamhaa is not quite what you'd expected it to be. It's neither real nor a believable dramatised account. The film explores a major eventRead full review2.0
Gaurav Malani | Indiatimes
Lamhaa opens in the year 2009 and talks about the separatist protest movements that initiated in Kashmir which (it repeatedly claims throughout the film) had started ‘18 years’ back in the year 1989. Not only does the film goes appallingly wrong with elementary mathematics, but also adds to the audience ambiguity through its constantly changing geographical boundaries and jumbled history.Read full review1.5
Taran Adarsh | bollywoodhungama.com
During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch lineRead full review
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1.5
Wasted Lamhaa
thomas.richard, 9 years agoThis is one time watch. You can watch this movie to pass your time. -
2.0
Lamhaa – the repeatedly told story of Kashmir!!
devenpatel, 9 years agoThis is one time watch. You can watch this movie to pass your time.