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Critic Reviews for Trishna
Trishna engages the potent collisions of the rural and the urban, the poor and the rich, and considers how these interactions unfold in a romance and how they might also destroy it.
Winterbottom has complete control of the film's look and feel, but the story seems to run away from him.
A rare unsatisfying swerve from an otherwise reliably provocative career.
"Trishna" works largely on the strength of Winterbottom's clever updates of a century-old story.
A loose but nonetheless pretty faithful recasting of Hardy's penultimate tragedy, Tess of the d'Urbervilles.
Audience Reviews for Trishna
It takes a while to figure out what Winterbottom wants to say with what appears to be a conventional love story set in India, but soon the film proves to be more ironic, intense and emotionally draining than it seemed at first - with a very surprising third act.
Decent movie. Not so much like Thomas Hardy's classic novel Tess of the D'Ubervilles, of which this was supposed to be loosely based. Very loosely. Freida Pinto is very beautiful, and a decent actress. This movie just seemed to drag on, and on.
A lower class woman falls for an upper class man. This is how class-conscious love stories should be done. Class becomes palpable and real, and the sacrifices that each lover must undertake in order to make the match work ring true and compelling. Rather than falling into the trap of being generalized, Jay must at times give up aspects of his livelihood for Trishna, who later becomes so engrossed in the relationship that what she gives up becomes stomach-curdling and ultimately tragic. Michael Winterbottom fashions a film out of such short scenes, and he does so expertly, able to compact huge spaces of time and dramatic jumps of character. However, I did not like the end, which seemed to wrap things up too neatly. Overall, this is very strong film, and it's fitting because British and Indian filmmakers are more attuned to the ravages of class difference than we are.