Director: Renuka Shahane
Cast: Kajol, Mithila Palkar, Tanvi Azmi, Kunaal Roy Kapur

Tribhanga is the tale of three moms. They are three imperfect ladies who unexpectedly become moms. These defects are ceaselessly presented for them by the male-centric culture. Throughout the span of 90-odd minutes, Renuka paints a striking, yet the strong image of the pressing factors of parenthood on ladies who need to carry on with their lives on their own terms. Tanvi Azmi’s Nayantara Apte is a Sahitya Akademi-winning essayist who loves to compose. She needs harmony at home. She is additionally a caring mother who needs to be adored both as a lady and an essayist. Indian culture by and large limits moms to one measurement.

Nayantara will not adjust to this, and neither society nor her little girl Anuradha (Kajol) is cheerful about it. In spite of the fact that Anuradha tries not to commit the errors that Nayantara did, it doesn’t prevent her too from winding up as an ‘awful mother’. The film begins with Nayantara charging a youthful author Milan (an intriguing job for the typically super cool Kunaal Roy Kapur) to help think of her memoir. Being a clear individual, Nayan says, “Our memory shrouds our deficiencies and makes the positive qualities in us overwhelming. It’s essential to know the perspective of another person.

I need to offer my kids the chance to diss me however much they might want.” And that they do when Nayan winds up in a trance-like state after a mind stroke, inciting her whole family to drop to her medical clinic room. It is in this chamber that we see obvious misery abruptly waver between tireless anger, unadulterated joy, and weepy breakdowns. The pattern of girls attempting to be better moms for their own girls was as of late investigated in Vidya Balan’s Shakuntala Devi. Here as well, the ‘flawed’ moms are individuals who are virtuosos in their own right.

In the event that Nayantara is an honor-winning essayist, Anuradha is a dissident entertainer artist. This raises whether or not we can at any point see a ‘typical’ lady being a ‘terrible mother’. It is consistently the determined workers, achievers, and virtuosos who are examined regarding their parenthood, recommending that notwithstanding their drive to be autonomous, they’d have been amazing moms. How I wish we’d get the poisonousness of typical guardians depicted on screen. While the substance experiences being extended altogether too much, the exhibitions make Tribhanga a nicely captivating watch.


Shweta Mehendale, who plays the more youthful Nayantara, conveys a superb presentation, which is expertly taken over by Tanvi in the more established segments. There is an impressive limitation from Tanvi even as her Nayan is in a real sense pushed out of Anuradha’s life subsequent to being known as a “wiped out lady” and a “grisly b*tch”. Kajol, in her advanced introduction, goes a piece OTT in her conveyance of a confounding job. Nayan calls Anuradha stone-hearted and inconsiderate, and Kajol depicts that perfectly. She cusses ceaselessly and is brazenly unfriendly to nearly everybody. She is glad her mom is in a trance-like state in light of the fact that Nayan is at last in “a quiet zone.” However, it is in those little piercing minutes where Anuradha winds up in clash with the self that we see the stalwart entertainer in Kajol.

Take, for example, the scene where she awakens from a bad dream about a youth injury. Her convincing presentation in that scene causes us to see how even intangible things can trigger a survivor. At the point when she says marriage is “cultural psychological oppression,” you sort of concurring with her. By the by, it is baffling that Kajol’s chance as a profane little girl is investigated in a way that is better than her job as a mother to a hapless Masha. Despite the fact that Masha goes about as an extension of sorts for Anuradha to understand her mom was a lady first, Mithila, who assumes the part, gets an unfair arrangement in general.

The goals in the film are excessively simple. One breakdown and a couple of tears are everything necessary for characters to apologize to and pardon one another. The allis-well organization doesn’t gel well in a film that figures out how to go an incredible distance in investigating stressed connections among moms and girls. Tribhanga manages helicopter nurturing, the disadvantages of being in a broken family, and the value a lady pays for having a high-handed demeanor about nurturing and family.

The dads are not addressed a lot, yet that is on the grounds that Renuka leans towards keeping the spotlight immovably on the moms. It isn’t that fathers are let free, it is only that in the Apte family, fathers don’t make any difference much. In a specific scene, Nayan says, “In some cases, I wish my youngsters were my characters so I can think of them the manner in which I need to, and make them love me.” We are not used to such facts from our onscreen moms. We are tuned to considering them to be ideal creatures. Through Tribhanga, Renuka and her grand gathering show us that mothers are multidimensional and as blemished as some other human. “Simple pass maa hai” doesn’t strike a remarkable same chest-pounding note any longer, and that is alright as well.