This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Story: It's very simple but honestly that is fine.

The acting in this movie is really good.

Watched this movie twice, My excitement continues even if i watch it 3rd time. This guy Anuragh is brilliant in directing, he has his own style of filming. He portrays emotions through colors, filters. Kalki is just amazing in her acting, when she emotes, when she shouts, when she silent, Anuragh has extracted and limited her acting. 'When we walk in a Mumbai, we see lot of person which we could just have a glance at them, but we don't know what's there with their inner lives. Experimenting one such unique character of a girl is 'THAT GIRL IN YELLOW BOOTS'. This movie looks like a art kind of real cinema, and definitely stand out from other 200 crores Bollywood movies which is just a bullshit.My only request to Bollywood main stream cinema producers, Kindly fund Anuragh 200 crores, that guy will give you at-least 5 feature films(brilliant/classic/art/dark-side/paranoia/reality/shitty world/) with that budget. Im an Chennai guy, who loves Bollywood, mainly because of Anuragh Kashyap

Maverick is back with his latest "That girl in yellow boots" a shocking tale of a daughter searching the whereabouts of her father who disappeared from her life all of a sudden. The discovery in the end why he left her & her mother and what made him contact her at the present may be too much for the weak hearted to take. Anuragh Kashyap has like always jolts the audience with surprises abound.The narration is sluggish , intentionally at that , so that the viewers also get to travel along with the protagonist. Like he explored the underbellies of Delhi in "DevD" here he does of Mumbai. The shady streets & massage parlor , the visa office , police stations , the local trains of Mumbai , local dadhas of different lingual origins ....all that is stereotypical of Mumbai is shown in this movie too. Perhaps that is the negative side of the movie. There are numerous stereotypes & routine beaten to bush sequences in between new bolder scenes that mars the impact.More than the writing it is the acting which steals the show. Kalki Koechlin is brilliant Ruth who comes to India in search of her father after receiving a letter from him stating how he misses her. She comes here on a tourist visa but later she is forced to stay longer because she is not able to trace her father in that time. Forced to join a massage parlor for her living she takes the extra mile to save enough to trace her father. The anguish , the pathos , the happiness (though few & far in between) are effortless emoted on screen. That she is a seasoned theater artist shows evidently on screen.Naseeruddin Shah has a brief role , more like an extended cameo . His role doesn't have anything to do with the main story but he is as convincing as ever in his role.Prashanth Prakash as the drug addict boy friend of Ruth is convincing in his role.Gulshan Devaiya as the kannada speaking goon in a role which is very cinematic & contrived. Though he manages to bring in few laughs , the character as such lacks enough depth & is a case of poor writing & thinking on the part of the director.Rajeev Ravi's cinematography explores the dark streets of Mumbai astutely .Anuragh has this time has thought of only "elite" audiences & tried on an abstract movie but not totally convincing with the end product. The most difficult thing in cinema is presenting something in a simple manner that everyone can understand & appreciate your work. But sadly that is not the case with "That girl in the yellow boot" . Somehow one gets a feel that whole movie is enacted rather than one is peeking into the lives of those involved which is a new for a Anuragh Kashyap movie.Bottomline : For the "Elite"

Anurag Kashyap Cinema is different, daring & fascinating. 'Black Friday', which was the best film of it's time, left me spell-bound. 'Dev D', according to me, was a terrific portrayal of Devdas, which deserved more success commercially. 'Gulaal', though far from his best, yet it left an impression. With 'That Girl in Yellow Boots', he takes his cinema to a different level. This is his darkest film to date. It's a difficult film, where no-character, comes across as clean, including the protagonist. What I find commendable, is Kashyap's knowledge of going-out-of-the-box. He chooses themes many filmmakers don't choose to execute, and yet he delivers films that truly have something going for them. 'That Girl in Yellow Boots' ranks amongst his bravest attempts to date. Also, Kashyap successfully churns out Incredible Performances, from it's talented cast.'That Girl in Yellow Boots' Synopsis: A British woman faces challenges while attempting to locate her father in India.The protagonist, Ruth, played superbly by Kalki Koechlin, is a persuasive personality. Her journey of finding her father, comes along-with a lot of challenges, that are sometimes hard to watch. Also, her relationship with her troubled boyfriend, who screws up big time, is absorbing. Kashyap & Kalki's Screenplay is daring & difficult. However, despite it's dark/depressing theme, the Husband-Wife duo manage to deliver captivating moments in the goings-on. But, I would love to add that, the Climax, falls flat and is not convincing enough. The true identity of Ruth's Father, disappoints & leaves you in mixed-emotions. Kashyap's Direction is straight-forward. Cinematography, Editing & Art Design, are appropriate. Performance-Wise: Kalki delivers a superb performance as Ruth. The Under-Rated Actress is believable all through. Naseeruddin Shah is as usual. Gulshan Devaiya as the twisted Chittiappa, does a Tour-De-Force. The actor is absolutely stunning, and this is a performance, that easily ranks amongst the best of 2011. Prashant Prakash is first-rate. Pooja Swaroop is hugely impressive. In cameos, Ronit Roy, Makrand Deshpande, Shiv Kumar Subramaniam & Piyush Mishra, are noticeable. On the whole, Despite a patchy ending, 'That Girl in Yellow Boots' is a well-made film, with Incredible Performances working on it's advantage.

Steve Jobs, the 'ex' CEO of Apple Inc. once said, "It isn't consumers' job to know what they want." This mantra fits well for the new age cult filmmaker Anurag Kashyap, who has drawn a strong line between the mainstream and the parallel with all his movies as a director or a writer. Following those words, made them respected names in their arenas.His latest offering That Girl In Yellow Boots, co-written by Kalki, is "socially" not intended for the audience we see in this country. God knows how he arrived at the concept of this movie...may be after getting intoxicated and sunken into the pervert sex stories? After scripting this idea and actually materializing it into a feature film needs gutsy balls. Said it. Indian producers are obviously not that ballsy to produce it, only if they get time and money from puke-like sugar candies and silly remakes. So valid is the irony of this filmmaking: 13 days to shoot the entire film and 2 years to release it! Coming upon the movie, Ruth Edscer (played by Kalki) in her metaphoric Yellow Boots is trapped in labyrinthine Mumbai, in search of a man who she hasn't seen since childhood and he also happens to be her father. In this quest, she comes across men of all kind- some "Men is Dog" kind at foreigner's registration office, a generous Diwakar (Naseeruddin Shah) at the massage parlor with the name "Aspaspa" where she works without a permit, his druggie boyfriend Prashant (Prashant Prakash), gang-man Chittiappa (Gulshan Devaiya) are some to mention. The numerous male characterization sets layers for the story to proceed: Makarand Deshpande as post master, Ronit Roy as a humble but unhelpful policeman, Piyush Mishra as a rickshaw-wallah and also Rajat Kapoor.Fixed with the plot, the film runs for around 1hour 30 minutes with each frame mellowed with dark creativity of arts and lights (reason: low production this time, may be) adds a charm to the kind of the tale it is paced to tell. Rajeev Rai's camera work with some guerrilla technique shots, trademarks the Anurag Kashyap kind of filming. Editing by Shweta Venkat and the parallel storytelling carves to enter the dark psyche of the protagonist. The debut music director Naren Chandavarkar grips harder onto the film with the background score- a striking folk genre sung by Shilpa Rao to portray the lead Ruth.Performances of almost every character, as they appear on the screen, hits hard - be it Makarand Deshpande only for seconds or Naseer Saab in all his short appearances. The other support Prakash and Chittiappa are worth watch. And to find a humor in this dark tale, there is Maya as the manger of Aspaspa, played by Puja Swaroop. Kalki is thrilling as Ruth, speaks with silence and her eyes.Kashyap, as always, asks his audience to feel the movie rather than to enjoy it. And, once you are sunken into the concept he pictures here, you are shocked with its disturbing climax. With the Indian Censor Board passing this concept and National Film Development Corporation producing it, I see some maturity in them and expects the same from the audience. Digest this. Have Gelucil. No puking.An urge to the Bollywooders: If a director, known for his critically acclaimed work, risks it with his future on stake and has balls enough to throw an idea beyond the scope of Bollywood that producers will never risk, isn't it your job as a part of liberal cinema lovers to see the bar rising just at the cost of a movie ticket and some time? Like. Dislike. Your say. Ideas need to be projected.