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Sand City (2025) ‘Karlovy Vary’ Movie Review: Mahde Hasan’s Strange and Beguiling City-Portrait Marks a Visually Arresting Debut

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Sand City (2025) ‘Karlovy Vary’ Movie Review: Mahde Hasan’s Strange and Beguiling City-Portrait Marks a Visually Arresting Debut

In Mahde Hasan’s feature debut, “Sand City,” a tight, clipped psychosis of disaffection rips through its atmosphere. There’s a stifling thrust cities exert as Dhaka does in the film. Where’s the release? Mauled by a city’s pummelling of daily routines, how do you inch towards a smidgen of fresh possibility? A faith in transcendence is snipped by the brutal drudgery synonymous with scratching out a life of dignity. How do you endure with grace when battered by daily banality?

“Sand City” spins around two characters. Emma (Victoria Chakma), a woman from an ethnic minority population, exits her office only to discover slurs scrawled on her bike. It happens on a daily basis. The guard claims he hasn’t a clue who’s behind it. Rather, he redirects insinuations at her, implying: why is it that only she is targeted? She must be doing something that attracts a particular kind of image. At work, Emma is mostly disconnected. She’s seen as an outsider, an anomaly.

The other character is Hasan (Mostafa Monwar), who slaves away at a glass plant with a gradually swelling plot of making his own. He collects several materials, including silica sand, and stores them at home. Emma also hauls off sand for her cat litter. Sand binds the two strangers. She feels edged out in most spaces, receding thereby to her own little corner. There’s no comfort she receives or warmth from kindred others. He’s biding his time, rosy-eyed about the big, brilliant future his project’s success can bring him.

Hasan orchestrates the city-space’s discombobulating effects with precision and austerity. Smoggy landscapes accentuate a deep-set sense of doom and collapse. There’s despair and disillusionment, but it’s purposefully muted. The film drives the kind of morass that seems inescapable, binding on all fronts. Dream as you may; turning the tide is futile, crashing past any mild fluttering of the heart.

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Hasan is terrifically confident in handling silences. Long wordless stretches dominate much of the film, a sandbox for you to decipher and project what characters may be feeling at any given point. There’s a distance, a chasm in place between Hasan and Emma, though a few interstices come up sometimes. But what’s felt more keenly is people being strung apart, socio-economic vectors firmly in place.

It’s a cold hollowness that creeps up on individuals. They have dreams which they pursue tenderly, secretly. Hope is so delicate it might shatter, should they recklessly share, open up their hearts. Giombini’s sharply sculpted framing prises out the city and its deadening blow. It’s a stark, alienating atmosphere we are slowly dipped into. Hasan has no interest in setting up a conventional structure, with easily discernible narrative beats. Instead, he and Giombini imbue “Sand City” with a moodier drift. The blue glowing nights draping over Emma are as striking as evocations of the netherworld in the wasteyards Hasan scavenges through.

Sand City (2025)
A still from “Sand City” (2025)

Characters don’t navigate the city as much as they are stuck within fixed routes. It’s a stasis that chews into the fibre of their lives. They don’t know how to find their footing if they take a plunge. Hasan does fling himself out there more demonstratively. However, their emotional, psychological isolation gnaws like an open wound. Amidst a space crunch, individuals are severed from any form of affectionate intimacy. The daily struggle for sustenance might not be the same for all. Some, like Emma, occupy a more privileged status.

But fulfilment remains elusive. People wander, aching for some anchorage that’s also affirming. Emma is waiting for visa issues to get sorted, so she can fly out of the country. Rarely do we witness the characters sharing a meaningful, grounding bond with others. Both Emma and Hasan are hemmed in. The latter is hopeful about his big project. But the city’s ruthlessness soon rams into him. To leap at salvation of some kind is exposed bleakly, rudely as a sorry quest. The promise of a renewed future stays suspended.

Mahde Hasan bends the film into a visually stunning drama. Most of the undercurrents are riven into Oronnok Prithibi’s sound design, which unleash vividly seething sensations in both crucial moments, like a heightened, shocked discovery, and regular, mundane rhythms. “Sand City” splays grimness into a vacuum that nags both its characters. Each yearns and jostles with the city’s grind. How much will they yield to it? They have to perennially deal with the interplay between resignation and resistance.

The latter is most terrifying, but the final choice, they hope, will make a difference. The director stitches in jolting, disquieting revelations, aided by Prithibi’s piercing, bracing sound design. The clang of construction noise, as the city expands unto itself in all its congestion, works as a constant reminder of the larger scale. A sliver of genuine human connection seems out of reach for both the characters. For Emma, it manifests through an uncanny intrusion. With defiant interruptions and daring ellipsis, Mahde Hasan twists “Sand City” into something evasively peculiar, singular, and unforgettable.

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Sand City premiered at the Karlovy Vary Film Festival 2025.

Sand City (2025) Movie Links: IMDb

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Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

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MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

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True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

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One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

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Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

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Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

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‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

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Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

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A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

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Movie Reviews

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

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‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

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Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

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Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

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Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

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