Trishna Reviews

  • The shots of urban traffic jams have more spark than the story, which skips from a pregnancy to the filming of a musical to murder - without convincing us of any of it.

    Owen Gleiberman — Entertainment Weekly

  • Life is suffering, as the Buddha said (including in Hardy's emotionally grinding novels), but it's more complex and contradictory than the ginned-up realism Mr. Winterbottom delivers here.

    Manohla Dargis — New York Times

  • A rare unsatisfying swerve from an otherwise reliably provocative career.

    Ann Hornaday — Washington Post

  • "Trishna" should move the soul and engage the tear-ducts, yet it passes by as distant as it is lovely. And the blame must fall on the movie's star, Freida Pinto.

    Ty Burr — Boston Globe

  • The film's exploration of extremes coexisting uneasily is especially palpable in a subplot involving Mumbai's film industry.

    Karina Longworth — Village Voice

  • Spectacular visually, though awfully somber dramatically.

    Joe Morgenstern — Wall Street Journal

  • 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.

    Lisa Kennedy — Denver Post

  • Winterbottom is a director who never repeats himself, films all over the world, and in "Trishna," effortlessly embeds his story in modern India.

    Roger Ebert — Chicago Sun-Times

  • The new setting revivifies the harsh forces of class and gender at work in the story.

    J. R. Jones — Chicago Reader

  • While the film never delves deep enough into its characters' emotions to be truly spellbinding, it's well worth seeing.

    Colin Covert — Minneapolis Star Tribune

  • Winterbottom has complete control of the film's look and feel, but the story seems to run away from him.

    Tom Long — Detroit News

  • Pinto's lack of dramatic range (she basically has two expressions) and an awkward third act do not provide a solid foundation for Hardy's tragic ending.

    Lou Lumenick — New York Post

  • This escalation of passions and Trishna's humiliation demands much of both actors, yet neither Pinto nor Ahmed is completely convincing and this is the main flaw of Trishna.

    Linda Barnard — Toronto Star

  • A loose but nonetheless pretty faithful recasting of Hardy's penultimate tragedy, Tess of the d'Urbervilles.

    James Adams — Globe and Mail

  • This is one of the best and bravest of recent adaptations of classic literature; if you're even a little bit intrigued, ignore what others say and don't let it pass you by.

    Andrew O'Hehir —

  • As a portrait of a nation amid accelerated and profound change, "Trishna" is a vivid piece of cinema. As a melodrama, it's provocative without being emotionally involving, the central performance more distancing than engaging.

    Sheri Linden — Los Angeles Times

  • Unfocused and easily forgettable, this drama shows that even a likable actress can't carry a movie that undervalues its characters.

    John Hanlon — Big Hollywood

  • Trishna is an admirable effort, but it's too detached and disinterested in the viewer to make an impact. This is a tough film to get through, and even if one makes it to the end, there's little reward to be found.

    Jonathan Lack — We Got This Covered

  • An intriguing addition to the work of an erratic but always interesting filmmaker.

    Frank Swietek — One Guy's Opinion

  • Hit the books instead.

    Grae Drake —

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