#tamasha ending

[lekhakpravin]

10 Best Tamasha Movie Quotes Every Traveler Might Relate To

Imtiaz Ali is a very well known film-maker known widely for his ability to show the reality of the society to the people in the form of entertainment. He speaks facts through his movies and all his movies leave an impact in the minds of the viewers. Tamasha is one such movie. Tamasha was released in the year 2015 and ever since then it has been ruling the hearts of many. Starring Ranbir Kapoor…

[almayver]

Tamasha my beloved misunderstood masterpiece

[callmehyungoppaokay]

SKZ AS BOLLYWOOD QUOTES (with translation)

PART-1

BANGCHAN : “Pasand nahi aayi ending? apni hi kahani hai ... ending badal do! [Tamasha-2015]

Trans: you didn't like the ending...it's your story....you can change it!

It describes BANGCHAN perfectly, like boy came to South Korea holding nothing but only dreams ...constantly doubting himself ...having sh thoughts...but he changed it himself...achieved what he wanted

[oscarbewildered]

Tamasha, a truly overlooked Bollywood masterpiece, whenever I recall this film, there's a specific song that never fails to send shivers down my spine "Agar tum saath ho". It’s a song for everyone- the ones who believe in love, the ones who don’t and the ones who are trying. For even the ones who have won in love knows what it is to lose. The song narrates the timeless struggle between the heart and the mind. Tara, dressed in deep red tones, driven by her heart. Ved, in lighter beige attire, is driven by his brain.

In this moment, Tara tightly hugs Ved, as if pleading silently for him to stay. The way in which she holds him carries an emotional weight adding a layer of emotion and urgency to the scene, suggesting that words may not be enough to convey what she feels, and her actions speak volumes in seeking his presence. She's scared to lose him, and she feels like the relationship is ending. Thus, holding on to him as tight as possible.

But Ved reluctantly pushes her away releasing himself from the hug. We can see the tears in his eyes. He seems to be struggling with inner conflicts, caught between what he wants and what makes sense.

In a quiet moment, Tara and Ved rest their heads on the table. Gently stroking his head, as if trying to nudge his brain to fall in love with her. "Agar tum saath ho". But the brain is stubborn and determined, it is not ready to listen. It is practical. Ved looks away while they rest their heads on the table, he's hiding tears and feeling exposed and vulnerable. *Ved leaves*, "Bedard thi zindagi, bedard hai". Life was merciless, it is merciless, even if he stays with her. It does not make a difference.

"Mujhe lagta hai ki baatein dil ki, hoti lafzon ki dhokhebaazi". It's like realizing that sometimes words aren't enough to express the depth of what your heart truly wants, what you truly feel for each other. Love is a relationship in which one converses through shared silences, we see that here once again in the deep silence of Tara and Ved.🌻🌙

[ozziesdisco]

ok so i finally have interesting stories to tell about my life since college started so i'm probably going to post them here

anyway

lemme talk about what was probably one of the most chaotic mornings of my life.

so. we were supposed to have a sports orientation at 7 in the morning (which was a decision nobody supported but everyone had to go along with it because people were taking attendance). My dumb ass woke up at 6:55 so already i was late.

i go. brush my teeth. and come back to see that my room is locked.

i have no phone no key nothing. legit everything is in my room except for my brush and mf vicco vajradanti toothpaste. and my roommate is nowhere to be seen.

so i run and find her friend (who was thankfully in the floor at the time) and call my roommate, who was already downstairs and also running extremely late

so she legit puts the keys on the floor of an empty lift and is like "stay on the line and tell me when it reaches our floor". and i told her when it did and then fucking RAN to my room and took bath

then full on did some usain bolt level running to the sports center (which i swear to god is some 870548768070000 kilometers away from the hostel)

it was already 7:20 and the orientation was supposed to end at 7:30 so i was like HDCSIGFKDGIHDHBDOHBGDUODUIOYGSYIDGF

and when i reach there i found out legit all they did was introduce themselves and tell everyone who did sports to introduce themselves

and make us into groups and see which group laughs the loudest

while telling us not to do drugs

so basically

i panicked screamed jumped ran and did all sorts of tamasha to go to a class where some theatre kid was instructing people on how to laugh loudly. and i was late for breakfast because of this bs

smfh this is why i hate sports

[kathai-kavithai-kadhal]

Mani Ratnam and the Female Experience in Cinema - A Rant

For context, I just finished binge-watching a bunch of films by various filmmakers, and I just realized how difficult some of them find it to let their characters just... be.

I don't know if this is just me, but I feel like Mani Ratnam has mastered the art of portraying characters as they are. What I mean is, a lot of other filmmakers tend to portray characters through their gaze. This becomes very apparent when you watch Imtiaz Ali's films, for example. I feel like he never really lets his female characters be. They are always trying to consciously or unconsciously "fix" the broken main character.

And this isn't just because of the fact that Imtiaz Ali's films generally revolve around the theme of love healing or fixing or completing you. Because if you think about it, Mani Ratnam has also made movies that revolve around the same theme, like OK Kanmani.

In the movie, the two main characters Tara and Adi are both young ambitious people who think that marriage would tie them down and are running from various incidents from their past as well as parts of their own adulthood and identity. All of this is subtly explored in the film, and the process of both of these people healing each other and unknowingly helping each other feel safe accepting these parts of each other is portrayed amidst colorful frames and AR Rahman's beautiful tunes.

But the difference between the works of these two filmmakers is that in Imtiaz Ali's films ranging from Jab We Met to Tamasha and Jab Harry Met Sejal, each of these films show a very one-dimensional female character. She's the manic pixie dream girl when the male lead needs to renew his faith in love, she's angry when he needs to learn something, and she's sad or sick when he needs to prove his love or return his gratitude. It's like the female lead exists only for the sake of the male character, like she's more of a plot device than a person.

A similar fallacy can be seen in Gautham Vasudev Menon's films, too. Vinnai Thaandi Varuvaaya portrays the story of an aspiring filmmaker, Karthik, falling in love with his landlord's daughter, Jessy. The movie basically covers the suffering of Karthik in love that, in the end, translates into his first film. This is a great premise, but the issue I had with the movie is the fact that Jessy is barely a character. She's supposed to be the female lead, but sometimes it's like her brother's character (which only appears in around four or five scenes) is more fleshed out than hers. Her defining trait seems to be that she's indecisive.

Although GVM had an opportunity to portray the very real struggles of modern Indian women navigating the identity of being a responsible daughter in their families along with being an individual with desires, ambitions and thoughts of their own, he reduces Jessy to a one-dimensional character whose sole purpose in the film is for Karthik to admire, and to eventually become Karthik's muse.

Now, you might argue that this is because of the difference in who the story is about: VTV is the story of Karthik, and Jab We Met is the story of Aditya, so obviously they would only feature the thoughts and aspirations of these characters. This has nothing to do with reducing female characters to plot devices or the amount of empathy and understanding the filmmaker has of women.

To that I'd say, you need to go watch Soorarai Pottru. This film by Sudha Kongara is inspired by the story of Captain Gopinath and is a masterclass in writing good supporting female characters. Sudha Kongara, being a woman herself, knows how to portray a woman in a supporting role without compromising on the personhood of the woman. The character Bommi is bold, loud and ambitious, not only when it's convenient for the male character.

For example, there's a scene where Bommi tries to convince her husband to take tuition classes for someone because the airline isn't doing well. He acts out in anger, and instead of retreating after apologizing a bunch like the female characters of most other films, she tells him to show all his pride and anger in getting his airline to do better. Does this give the male lead a boost of determination, or impact his arc in any way? Not really. That dialogue is just there because that's what that character would've done in that situation. And this clarity on the personhood of the supporting characters, on the layers of quirks and traits that make them, is what most male filmmakers lack.

I feel like one other mainstream male director who is able to accomplish this, to some extent, at least, in Sanjay Leela Bhansali. All of his female characters seem to have some depth, at least. However, one trap that he seems to fall into is boxing his female characters into the Madonna-Whore complex. His female characters are either innocent, shy women who serve the patriarchy with all their might, and only show any signs of boldness or intelligence in the absence of their fathers or husbands, or they're bold, they question the patriarchy and they make their own decisions, but they're tawaifs or prostitutes or just "fallen women."

The complexities of both of these archetypes are thoroughly examined, the story moves without any character development feeling forced, and each of these types of women are worshipped, but the thing is, they're still less characters and more archetypes.

All this to say, male privilege and a historical disregard for the female experience has resulted in most male filmmakers just not knowing how to depict female characters in their films, but Mani Ratnam is different. I don't know if it's because of all the wonderful women in his life and team who are able to express themselves and talk about their experiences using cinema as an art form, like Suhasini Mani Ratnam and Sudha Kongara herself, who worked in Mani Ratnam's team for five years before taking off on her own, or because of Mani Ratnam's tendency to talk to people from all walks of life and actually listen to them with empathy, but he seems to be the only mainstream Indian filmmaker who is able to portray all of his characters, male and female alike, with equal depth.

[desifleabag]

A few days ago, I was drunk, standing on the terrace with a beer in hand, conversing with my best friend. The night sky stretched out above, the city skyline visible. She asked me, "What if these plans, dreams, and the career I desire don't work out?"

As the alcohol coursed down my throat, I welled up with tears due to the thoughts swirling in my mind. After a pause, I responded, "You know, at least you dare to pursue what you love. You have the will to live to take classes for your passion to pave the path toward your dreams. You have the guts to envision your aspirations and keep believing in them. In a world where people dictate what to do and what not to do, it's a challenge to follow your heart and persist amidst the chaos. You consistently choose to be true to yourself, even though this world attempts to control your dreams, preferences, and dislikes. Look at yourself; you keep choosing yourself because you have faith in your abilities. Believing in oneself is no small feat. Look at me; I couldn't even tell my aspirations to my parents out of fear that they might throw me out or subject me to torment for dreaming. Today, merely acknowledging what I want from life and imagining my dreams is frightening. Undoubtedly, dreaming can be daunting. But when I dare to dream, the reality of what society and my parents have instilled in me often crushes my hopes. You could say I'm like Raju from '3 Idiots' because I'm afraid. I fear that the five years I've invested in my dreams haven't paid off because I lacked concentration, efficiency, consistency, and the ability to work hard. I admit to these shortcomings. As you grow older, some things shine so brightly that you yearn to seize them and savour the moment. Back then, I allowed this vast void and loneliness to consume me with various distractions, which I now deeply regret. I wasn't taking responsibility for my failures back then, but today I want to say to myself loudly that I indeed faltered over the past five years. I couldn't reach my full potential. I believed I was mediocre. I accepted my parents' notion that I wasn't a hard worker, and I resigned myself to being an average student in college. I'm genuinely sorry for that. Five years ago, in my purple diary, I had a list of dreams and a bucket list to fulfil. Today, I've checked off some boxes but lack the strength to check the others. I feel like giving up, but I don't want to. Every time I pass by a temple, I pray to God for the strength to overcome my obstacles and problems because I know that failure should fuel your determination to achieve your dreams. But, I don't know why, it has made me feel worse about myself, and I haven't risen from the ashes. Perhaps one day, I'll burst into those ashes, regretting that I didn't even attempt to accomplish what I desired. That would be humiliating for me when it comes to pursuing my dreams, the pressure of perfectionism and the fear of failure often loom large in my life. Sometimes, it feels as though these feelings are etched on my face. When I embark on a new endeavour, I yearn for success, but I've come to realize that it's not up to us to determine whether our goals and dreams will come to fruition. All we can do is put in the effort and remain passionately dedicated to our aspirations, leaving the outcome to the universe. Personally, I i perceived this different exampleexample, while I have a deep desire to play football, I catch myself constantly checking the scoreboard during the game. It's as if I'm questioning how I can truly enjoy playing football and achieve victory when my focus is fixed on the score.

Now, I can relate to Ved from 'Tamasha,' and how it led him to live a life he never wanted but was forced into. When your heart yearns for something, and you can't pursue it, it's one of the most profound sorrows I've ever experienced. I want to tell my parents and family that the dreams they've chosen for me are not my own. I don't want to end up like Ved; I want to be Don. I don't want to be like Raju; I want to be RRanchod Das I want to be Veera. I want to be Aisha. I want to live a life that's about me. I'll try again. I'll dare to dream and work relentlessly for what I've always wanted." After saying this, tears streamed down my face, and my best friend gazed at me, saying, "We will."

[musiquesduciel]

Watching one unwatched movie after another everyday on my watch-list. Since the year started, I've watched:

Kalank (Jan)

Harry Potter and the Dealthy Hallows: Part 2 (Jan)

Delhi Belly (Jan)

Mujhse Shaadi Karogi (Jan-Feb)

Kal Ho Naa Ho (Feb)

Mujhse Dosti Karoge! (Feb 8)

The Zoya Factor (Feb 10)

Daawat-e-Ishq (Feb 11)

Fitoor (Feb 12)

Aashiqui 2 (Feb 13)

Cirkus (DNF)

OK Jaanu (Feb 17)

Malang (Feb 19)

Gori Tere Pyaar Mein (Feb 20-21)

Luv Ka The End (Feb 23)

The Night Manager (Feb 23 going into Feb 24)

A Gentleman (Feb 24-25)

Indoo Ki Jawaani (Feb 26)

Tamasha (Started the first 41 minutes 2022 fall/winter, but finished Feb 27)

Matru Ki Bijlee Ka Mandola (DNF Mar 1)

Band Bajaa Baarat (Mar 1)

Rajneeti (Mar 3 - just started because what a long movie - finished Mar 6)

Sui Dhaaga (Mar 4)

Mimi (Mar 4)

Tu Jhoothi Main Makkaar (Mar 13)

Pathaan (Mar 15)

Ae Dil Hai Mushkil (Mar 20)

Rockstar (Mar 20 - DNF)

Mere Yaar Ki Shaadi Hai (April 30)

Farzi (May)

Gumraah (June 13)

Luka Chuppi (June 21)

Shehzada (June 23)

Love Aaj Kal 2 (June 24)

Ek Villain Returns (June 25)

Bhediya (finished June 28)

The Night Manager Season 2 (June 29)

Sonu Ke Titu Ki Sweety (July 3)

Pati, Patni aur Woh (July 4-5)

Jab Harry Met Sejal (July 7-11)

Main Tera Hero (July 14)

ABCD 2 (July 15-16)

Dilwale (July 17-18)

Dishoom (July 18)

Judwaa 2 (July 19-21)

Stree (July 21)

Oppenheimer (July 22)

Ek Villain (July 23-24)

Coolie No. 1 (July 25-29)

Jugjugg Jeeyo (July 30)

Ittefaq (Aug 1-2)

Sandeep Aur Pinky Faraar (Aug 3-5)

Thank God (Aug 5-6)

Barbie (Aug 7)

Mission Majnu (Aug 8)

Made in Heaven Season 2 (Aug 9-12)

Ishaqzaade (Aug 13)

Kidnap (Aug 14-16)

Baaghi (Aug 17-19)

Gully Boy (Aug 19)

Dhoom 3 (Aug 20)

Karthik Calling Karthik (Aug 21)

Shaitan (Aug 26-27)

War (Aug 27)

Heart of Stone (Aug 30)

Sadak 2 (Sep 1)

The Big Short (Sep 3)

Neerja (Sep 4)

Udaan (Sep 7)

Bawaal (Sep 8)

Neeyat (Sep 8)

Satyaprem Ki Katha (Sep 10)

Jaane Jaan (Sep 28)

Rocky Aur Rani Kii Prem Kahaani (Sep 29-30)

Rock On!! (Sep 30-Oct 1)

Uri: The Surgical Strike (Sep 30-Oct 1)

London, Paris, New York (Oct 4)

Chor Nikal Ke Bhaga (Oct 5)

OMG 2 (Oct 7-8)

Jayeshbhai Jordaar (Oct 7)

PK (Oct 8)

Happy New Year (Oct 17)

83 (Oct 18)

Good Newwz (Oct 19)

Bewakoofiyan (Oct 7-20)

Guns & Gulaabs (Nov 3-6)

Kai Po Che! (Nov 8)

M.S. Dhoni: The Untold Story (Nov 14)

Tiger 3 (Nov 18)

The Archies (Dec 7)

Sam Bahadur (Dec 8)

Half Girlfriend (Dec 9-10)

Saawariya (Dec 11)

Dream Girl 2 (Dec 12)

Kuttey (Dec 13-15)

Hindi Medium (Dec 16)

Friday Night Plan (Dec 17)

Chennai Express (Dec 19-23)

Kho Gaye Hum Kahan (Dec 26)

A Perfect Pairing (Dec 28)

Jawan (Dec 30)

[things-that-altered-my-brain]

TRACKING MY EYES

(LIST OF MOVIES SERIES BOOKS AND WEBCOMICS I HAVE SEEN READ and want to remember(rating out of 10) (incomplete rn)

( E-english, H-hindi, K-korean)

MOVIES

Animated-

nimona (10)

TANGLED

the Mitchells v/s the machines

spirit untamed

frozen 1

next gen (8)

the willoughbys

over the moon

wreck it Ralph 1 and 2

encanto

frozen 2 (6)

Hindi

barfi (10)

chor nikal ke bhaga (10)

Darlings

ek main aur ek tuu

ek vivah aisa bhi

forensic

hasee to phasee

Lootera

om shanti om

Qala

queen

Uri

7 khoon maaf (9)

dear zindagi

dil chahta hai

dil dhadkne do

Wake up Sid

doctor G (8)

kal ho na ho

zindagi na milegi Dobara

gori tere pyaar m (7)

kuch kuch hota hai

kabhi khushi kabhi gham

plan A plan B

Tamasha

OMG (oh my god) (6)

Ye Jawani Hai deewani

fitoor (5)

I hate luv stories

kabhi alvida naa kehna

dilwale 2015

jaane tu ya jaane na

dil se (3)

hum sath sath hai (no ratings for these lol)

happy new year

hum apke hai kaun

sooryavansham

english

good will hunting

BARBIE

Half of it

fundamentals of caring

edge of seventeen

red white and royal blue

the baby sitter killer queen

crazy rich asians

Enola holmes 1 n 2

knives out 1 n 2

confessions of a shopaholic

the intern

love at first sight

korean

tune in for love

love and leashes

kill boksoon

SERIES

lockwood n co

looking for alaska

heartstopper

Carmen San Diego

extraordinary attorney woo

blue birthday

run on

celebrity

true beauty

see you in my 19th life

our beloved summer

my ID is Gangnam beauty

because this is my first life

business proporsal

nevertheless

masaba masaba

my demon

destined with you

vincenzo

reborn rich

start up

Heeramandi

its okay not to be okay (goingon)

gilmore girls (going on)

BOOKS

the unhoneymooners- Christina Lauren

nothing lasts forever- Sidney Sheldon

Since You've Been Gone by Morgan Matson

turtles all the way down- john green

to all the boys I've loved before (book 2 and 3 specially)

One of us is lying- Karen McManus

One of us is next (sequel)

Mr. Penumbra’s 24-hour bookstore- robin sloan

tbr-

one of us is back (triology)

lockwood and co

PLAYS

mujhe amritaa chahiye (yogesh tripathi)

WEBCOMICS

the omniscient reader

i love yoo

the greatest estate developer

get schooled

operation true love

seasons of blossom

morgana and oz

reunion

to tame a fire

muse on fame

maybe meant to be

wished you were dead

lost in translation

lets get divorced

the fox club

raven saga

bad signs

daytime star

completed

secretary out of order

see you in my 19th life

take me im yours

your letter

til debt do us part

our beloved summer

unholy blood

sweet home

long after the ending

the make up remover

age matters

a chance at last

gourment hound

the nuna at our office

cherry blossoms

my boo

her bucket list

super secret

oh!holy

mom, im sorry

lilac 200%

scorching romance

garden club detective squad

the hip guy

kind of love

unTouchable

witch hunt

cinnamonroll

[scribblesbyavi]

“Ending kharab hai na? Ending sahi nahi hai. Toh koi baat nahi. Apni kahaani hai. Ending change kar lenge."

- Tamasha

[filmrelicsworld]

Imtiaz Ali and Tamasha

I recall seeing Jab We Met for the first time when I was in school, and I was captivated by the madness of an unstable and crazy love tale. Opposites attract, and I have long believed in this concept. Imtiaz Ali's films typically weave this notion in a widely acceptable manner. The irony of this is that I've always despised love stories, particularly those from Bollywood. They revolve around stories you cannot even begin to relate to or pictures occurring in the real world. They are dramatic, fantastical, frustrating, stupid, and thought up.

However, Imtiaz Ali has always portrayed stories through his films about characters you would see in real life; some of these characters are a little too ripe, but given the extravagantly exaggerated tales Bollywood has always created, it may be forgiven.

I'll openly admit that I've seen the movie Rockstar on my laptop many times and five times in theatres. I'm not sure there is a word that adequately captures the depth of love that was conveyed in the film. I could watch it a million times without any thought or care, adding it to the small number of Bollywood films that I have found appealing thus far. The reason for this is that it was not an easy task to direct and carry out a story so impulsive and compelling within a "controlled insanity." I was engrossed in a dreamy affair for a while after that, asking myself repeatedly, "What is love if not madness," until reality grounded me in the most unexpected way.

Ever since a friend first showed me the trailer for Tamasha, I had been anticipating its arrival. Every Imtiaz Ali film features prominent themes such as the absurdity of love, the desire for happiness and tranquillity, arrogant ways of telling a straightforward tale, and, in the end, a person meeting a female in the most unusual and unexpected way and enriching each other's lives.

Tamasha is nothing distinctive from it either, but what elevates this beautiful tale even further is that it is fundamentally about two soulmates, their loneliness in familiarity and their connection as strangers. It is the story of a man's battle with his inner self and how lady love helps him accept who he is and what he truly wants to be. Though they do make me feel good, it's not enough because the story is about more than simply love. I was excited to watch how the male protagonist begins to receive the answers he had been wondering about throughout.

It's more about love giving each other's lives additional significance, about realising the complexity of human nature and about two lost souls travelling in the direction of one another and finding solace in each other's company for all time. It's a complicated tale about humans and how frequently they require other people to complete them and give them new life.

There is more to Tamasha than merely finding your true partner these days. It centres on a character who is searching for meaning in his life. He struggles between the person he is and the person he should be, and a series of unfortunate circumstances force him to acknowledge the "tamasha" he has created for himself and his life.

They resemble windows that spring open to reveal other windows, providing opportunities to live a more fulfilling life and experience more spiritual richness. The notion that the film followed the path of a storyteller surprised me. How captivatingly art may capture the imagination of people!

The movie also follows a woman who makes an investment in a partnership, one who communicates her emotions and looks for guidance in a romantic partnership. She also serves as the catalyst, the mirror through which the male lead will ultimately be able to see his true reflection. The one who will help him realise that he is far more than what he believes himself to be and that he is neither average or mediocre. The plot is more authentic and less of a Bollywood tell-tale because the film doesn't attempt to celebrate love in ostentatious ways when it is present or to simulate paranoia when it isn't.

My preference for Imtiaz Ali films is undeniable, and I have complete faith that I will always like seeing them, but this one has felt a bit more like a fantasy. I shall be engrossed in Tamasha's plot and characters for a considerable amount of time, until, inevitably, unanticipated circumstances force me to return to reality.

Akansha

[faithful-diaries]

When Junaid Jamshed (may Allah have mercy on him) said,

Jagah jee lagane ki duniya nahi hai... ye ibrat ki ja hai tamasha nahi hai... tujhe pehle bachpan ne barso khilaya... phir jawani ne majnu banaya... Jab is bazm se chal diye dost aksar... Aur uthte chale jaa rahe hain barabar

All the way of journey I knew the end of the story.

[yourssurajmukhi]

The days have gone

And still an awkward silence stays.

The momentum's long lost

Lost beyond my thinking ,

And this awkward silence stays.

The words don't come anymore .

The ends don't rhyme anymore.

The boat's too drenched to sail across.

The walls too high to go beyond.

But this heart speaks too loud.

So,here I am sailing across

To climb the wall,

Hoping to Live,

When the only possibility is Death.

[marketsndata]

Indian-made Foreign Liquor Ingredients Market Assessment, Opportunities and Forecast, 2031

Indian-made foreign liquor ingredients market size was valued at USD 12.8 billion in FY2023, which is expected to grow to USD 25.2 billion in FY2031, with a CAGR of 8.8% during the forecast period between FY2024 and FY2031. The Indian-made foreign liquor (IMFL) ingredient market is experiencing a transformative phase, driven by evolving consumer preferences, economic growth, and changing regulations. As disposable incomes rise and urbanization accelerates, the demand for IMFL continues to grow, especially in the premium and semi-premium segments. 

Moreover, the market is shifting towards grain-based liquors, diversifying from the traditionally popular molasses-based variants. Consumers are increasingly drawn to premium products, influenced by exposure to international trends and a desire for a sophisticated drinking experience. However, manufacturers are responding by innovating and introducing a wide array of IMFL options to meet this demand, leveraging advancements in production technologies. Additionally, the expanding network of bars, pubs, government-licensed outlets, and private retail chains enhances accessibility, further stimulating the market. As the industry embraces sustainability and healthier ingredients due to global influences, the IMFL ingredient market is poised for continued growth.

Sample report- https://www.marketsandata.com/industry-reports/indian-made-foreign-liquor-ingredients-market/sample-request

Increasing Consumption of Premium Liquor is Rising Demand

The rapid urbanization in India significantly increases disposable incomes and empowers consumers to ascend to premium segments within the Indian-made foreign liquor (IMFL) industry. The escalation is further propelled by the exposure of Indian consumers to international markets and their desire to align with global trends. The aspiration for a more sophisticated drinking experience drives a surge in demand for premium IMFL, creating a favorable market for higher-end domestic offerings. Notably, the influence of international travel and exposure to global products reshapes preferences, prompting the industry to adapt and diversify its offerings to cater to these evolving tastes. In response to this demand, beverage companies strategically invest in marketing and branding initiatives, pivotal in attracting consumers and effectively conveying the value and exclusivity of semi-premium and premium products. 

For instance, the consumption of Indian-made foreign liquor (IMFL) witnessed a notable increase of 17.97%, rising from 1,999.25 lakh bulk liters (LBL) during the 2020-21 period to reach 2,358.60 LBL by the end of 2021-22. This increase in consumption of India-made Foreign Liquor drives the market.

Increased Accessibility to Further Strengthen the Market

In recent years, significant shifts in societal attitudes and lifestyles have led to a notable increase in the social acceptance of alcohol consumption. The acceptance now encompasses drinking in family settings and social gatherings among males, females, and younger individuals. The market has responded to this shift with a proliferation of IMFL and many brands. These products are readily accessible through government-licensed outlets, government shops, private licensed retail chains, and restaurants, pubs, and bars. Additionally, there has been a substantial growth in the number of bars and pubs to accommodate this evolving trend. For instance, CEO of First Fiddle restaurants, known for brands like Warehouse Cafe, Tamasha, Lord of The Drinks, and Flying Saucer Cafe, mentioned, “Our focus is on cities like Ranchi, Surat, and Bhopal to expand our presence. Moreover, we are strategically targeting popular tourist destinations such as Goa, Jaipur, and Jim Corbett. We recognize a significant potential in smaller cities, and currently, space is not a limiting factor.” This expansion of pubs and bars into tier-2 cities is further expected to improve the demand for Indian-made foreign liquor ingredient in the country. 

Whiskey Holds the Highest Share Among the Indian-made Foreign Liquors

India produces thirteen globally top-selling whiskey brands, encompassing a spectrum from affordable options to blends and single malts in the most exclusive category. In 2021, whiskey emerged as the dominant segment, making up 65.4% of sales volume and a substantial 74.2% of the market value. The whiskey category, constituting two-thirds of the IMFL market, experienced a remarkable 17% growth. Whiskey’s dominance in the Indian market results from its cultural significance, perceived value, diverse offerings, and effective marketing strategies by domestic and international whiskey producers.

With a volume market share of 19.1%, Brandy stands as the second most consumed beverage in the Indian market. Brandy holds a significant share in the Indian market since some consumers believe moderate brandy consumption has potential health benefits, including aiding digestion and providing warmth during colder months.

Impact of COVID-19

The Indian-made Foreign Liquor (IMFL) ingredients market in India experienced significant disruptions in its supply chain due to the global impact of the COVID-19 pandemic. These disruptions led to challenges such as scarcities of crucial materials such as yeast, crop & molasses, and intricate logistical issues, ultimately impeding the production and distribution of IMFL ingredients. Additionally, pandemic-induced lockdowns and movement restrictions across the country resulted in reduced consumption of IMFL due to the shutdown of bars and retail stores across the country, affecting the utilization and adoption of IMFL ingredients in various regions of India. Economic uncertainty and increased health consciousness brought by the pandemic played a role in influencing consumer purchasing behavior, thereby impacting the strength of the IMFL ingredients market in India.

Impact of Russia-Ukraine War

While a substantial portion of India’s population relies on agriculture for consumption, ensuring food affordability remains a significant challenge. The disruptions in the supply chain due to the Russia-Ukraine war has exacerbated this issue in the country. Ukraine is ranked in the top five global barley producers, contributing 18 percent of global barley exports in 2022. Although Indian brewers primarily procure barley domestically, the prices in India increased coordinated with global prices due to the disruption in the global supply chain. Along with Barley, other grains prices, such as wheat and corn used in manufacturing IMFL, witnessed cost increase due to the ongoing Russian-Ukraine war.

Indian-made Foreign Liquor Ingredients Market: Report Scope

“Indian-made Foreign Liquor Ingredients Market Assessment, Opportunities and Forecast, FY2017-FY2031”, is a comprehensive report by Markets and Data, providing in-depth analysis and qualitative & quantitative assessment of the current state of Indian-made foreign liquor ingredients market, industry dynamics, and challenges. The report includes market size, segmental shares, growth trends, COVID-19 and Russia-Ukraine war impact, opportunities, and forecast between FY2024 and FY2031. Additionally, the report profiles the leading players in the industry mentioning their respective market share, business model, competitive intelligence, etc.

Click here for full report- https://www.marketsandata.com/industry-reports/indian-made-foreign-liquor-ingredients-market

Contact

Mr. Vivek Gupta 5741 Cleveland street, Suite 120, VA beach, VA, USA 23462 Tel: +1 (757) 343–3258 Email: info@marketsandata.com Website: https://www.marketsandata.com

[movierulzpro]

Amar Singh Chamkila Movie Review ft. Diljit Dosanjh

The film Amar Singh Chamkila, directed by Imtiaz Ali and starring Diljit Dosanjh, has garnered significant attention and praise from various reviewers. The movie is a biographical drama that explores the life of Amar Singh Chamkila, a controversial and popular Punjabi singer of the 1980s, known for his raw and provocative lyrics. Here’s a comprehensive review based on popular sources:

Plot and Direction Imtiaz Ali, known for his unique storytelling style, brings Chamkila's story to life with a blend of musical brilliance and poignant drama. According to Movierulz, the film serves as a real-world manifestation of Ali's earlier works like Rockstar and Tamasha, focusing on an artist whose desires and dissent shape his life and career. The narrative captures Chamkila's rise to fame, his struggles with societal norms, and his tragic end, all while maintaining a sense of authenticity and emotional depth.

Performances Diljit Dosanjh's portrayal of Chamkila is widely praised for its depth and authenticity. His performance captures the singer's innocence, determination, and complexity, making Chamkila's character both relatable and compelling. Parineeti Chopra, playing Chamkila's wife and musical partner Amarjot Kaur, also delivers a strong performance, portraying a blend of timidity and strength that adds to the film's emotional resonance.

Music The music, composed by A.R. Rahman, is a standout aspect of the film. The songs not only enhance the narrative but also reflect Chamkila's provocative style and the socio-political context of his time. Reviewers have noted that the music brings a concert-like experience to the film, making it a melodious yet tragic biopic. The soundtrack has been described as both nostalgic for older audiences and a fresh introduction to Chamkila's music for new viewers.

Cinematography and Visuals The film's cinematography by Anil Mehta is another highlight, capturing the vibrant and tumultuous era of Punjab in the 1980s. The visual effects and setting contribute significantly to the storytelling, providing a vivid backdrop against which Chamkila's life unfolds. The editing by Aarti Bajaj, which includes a mix of archival footage and dramatized sequences, adds a dynamic rhythm to the film.

Critical Reception The film has received generally positive reviews, with particular praise for its direction, performances, and music. Gadgets 360 described the film as brilliantly capturing the spirit of Punjab, while Bollywood Hungama highlighted its stylish and entertaining narrative. Hindustan Times commended the film's honesty and outstanding music, noting that it feels like attending a live concert.

Ratings The ratings for Amar Singh Chamkila reflect its strong reception among critics and audiences. The Movie Blog rated it an overall 7.3/10, appreciating the acting, cinematography, and thematic elements but noting that the plot and rewatchability could be improved. This rating aligns with the general consensus that while the film has minor flaws, it is a compelling and well-crafted biopic.

Conclusion Amar Singh Chamkila is a compelling film that successfully brings to life the story of one of Punjab's most controversial and beloved singers. Through strong performances, evocative music, and thoughtful direction, the film not only tells Chamkila's story but also captures the cultural and social dynamics of his time. Despite some criticisms regarding pacing and plot development, the film stands out as a significant achievement in contemporary Indian cinema, celebrating the legacy of a musical icon while addressing broader themes of identity, rebellion, and artistic expression.

[the-world-through-your-eyes]

The girl I met on a Friday night.

There I was, too depressed at the thought of spending yet another weekend alone, I had decided to slam a couple of beers and head out into town.

I went to a bar that I occasionally end up in, and bought a pack of cigarettes even though I have a love-hate relationship with smoking. Ended up dancing and drinking water in the club to sober up.

I think the best conversations in a bar happen in the smoking area where guys hit on girls and the girls just pretend not to care. I danced and waited a couple of hours till I was sober and started to see the reality of going out and decided to head out.

As I was heading out, I saw this girl who was drunk and barely walk. I talk to her and help her sit down on a bus bench. She proceeds to explain that she made a mistake and caused a whole lot of 'Tamasha' which I later learnt translated to drama. She ended up crying her eyes out for the better part of an hour.

He bawling her eyes out reminded me of a scene with one of my exes back in 2019 about a fight we had before we broke up. Where she hugged and cried her eyes out similarly.

She proceeded to transition from crying endlessly to kissing me unrelentingly. I think it was the alcohol. We talked for a bit more and I dropped her home. Never heard from her since. I hope you are doing well. I hope you went for brunch the next day. And no I was not embarrassed for what you did. I can't for the life of me remember your name. But you reminded me of feelings that I had forgotten a long time ago. You managed to warm up my cold heart with your warm hugs on that cold night.

Take care. 11/02/2024 3.35pm