An intriguing addition to the work of an erratic but always interesting filmmaker.
| Original Score: B-
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.
| Original Score: 3/4
Winterbottom's socially conscious, contemporary adaptation of Thomas Hardy's novel Tess of the d'Urbervilles is first-rate.
...Winterbottom's most gorgeous film to date.
| Original Score: 7/10
While the film never delves deep enough into its characters' emotions to be truly spellbinding, it's well worth seeing.
Pinto's piercingly expressive eyes tell the whole story--the excitement of not only first love but the new, and that innocent hope and romantic idealism slowly, inevitably bled dry.
| Original Score: 3.5/4
"Trishna" works largely on the strength of Winterbottom's clever updates of a century-old story.
| Original Score: 2.5/4
A loose but nonetheless pretty faithful recasting of Hardy's penultimate tragedy, Tess of the d'Urbervilles.
A nice inversion of the star-cross'd lovers trope.
Winterbottom gives a bright panorama of Indian life, from the agrarian countryside to the tumult of Jaipur and the sophistication of Mumbai.
Featuring a Bollywood subplot and an irresistible East-meets-West score, the movie is lush and lusty: both a strong vehicle for Pinto and a good match for Winterbottom's impressionistic style.
Trishna rewards with its observational qualities, while promoting Pinto as an actress worth paying attention to.
| Original Score: B+
The new setting revivifies the harsh forces of class and gender at work in the story.
The sort of vivid portrait deliberately avoided by the dopey tourist grazing of stuff like The Best Exotic Marigold Hotel.
Winterbottom is a director who never repeats himself, films all over the world, and in "Trishna," effortlessly embeds his story in modern India.
Winterbottom uses the Indian locations with a documentarian's eye and a dramatist's mind.
| Original Score: A-
... an innovative viewpoint for remaking the story and the exotic settings are stunning to look at, but the character of Jay as interpreted is problematic as is the last act.
Not wasting any time, Michael Winterbottom hurls Thomas Hardy's 1891 novel into the 21st century ... He's indebted to, but not weighed down, by the literary classic
Pinto, stoic and stunning, demonstrates why this heroine and this tale of her woe still have power more than 150 years after it was written.
Spectacular visually, though awfully somber dramatically.