āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ āϏāĻŋāύ⧇āĻŽāĻž āĻāĻ•āϟāĻž āĻŽā§‡ā§Ÿā§‡āϰ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰ⧇āĻŽ āĻ“ āĻļāĻžāϰ⧀āϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ˛ā§āĻĒ

āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ āĻāĻ•āϟāĻž āĻŽā§‡āϝāĻŧ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞāϤāĻž, āĻĒā§āϰ⧇āĻŽ, āĻāĻŦāĻ‚ āĻŽāĻž āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻŽā§āĻ­āĻŋāϰ āϞ⧁āĻ•āĻžāύ⧋ āĻŦāĻžāĻ°ā§āϤāĻž āĻ“ āĻ—āĻ­ā§€āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āϜāĻžāύāϤ⧇ āĻāĻ• āύāϜāϰ⧇ āĻĻ⧇āϖ⧁āύ!

āĻ­ā§‚āĻŽāĻŋāĻ•āĻž (Introduction)

Girls Will Be Girls āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ ‘āĻ•āĻžāĻŽāĻŋāĻ‚-āĻ…āĻŦ-āĻāĻœâ€™ āĻĄā§āϰāĻžāĻŽāĻž, āϝāĻž ⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĒāĻžāϝāĻŧāĨ¤ āĻļ⧁āϚāĻŋ āϤāĻžāϞāĻžāϟāĻŋāϰ āĻĒāϰāĻŋāϚāĻžāϞāĻŋāϤ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻāĻ•āϟāĻž āĻŽā§‡āϝāĻŧ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞāϤāĻž, āĻĒā§āϰ⧇āĻŽ, āĻāĻŦāĻ‚ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ• āύāĻŋāϝāĻŧ⧇ āĻāĻ•āϟāĻŋ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻ—āĻ˛ā§āĻĒ āϤ⧁āϞ⧇ āϧāϰ⧇āϛ⧇āĨ¤ āĻšāĻŋāĻŽāĻžāϞāϝāĻŧ⧇āϰ āĻĒāĻžāĻĻāĻĻ⧇āĻļ⧇ āĻ…āĻŦāĻ¸ā§āĻĨāĻŋāϤ āĻāĻ•āϟāĻŋ āĻŦā§‹āĻ°ā§āĻĄāĻŋāĻ‚ āĻ¸ā§āϕ⧁āϞāϕ⧇ āϕ⧇āĻ¨ā§āĻĻā§āϰ āĻ•āϰ⧇ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āĻāχ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇, āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āĻŽā§€āϰāĻž āϤāĻžāϰ āĻœā§€āĻŦāύ āĻ“ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϗ⧁āϞ⧋āϰ āĻ—āĻ­ā§€āϰ⧇ āĻĒā§āϰāĻŦ⧇āĻļ āĻ•āϰ⧇āĨ¤ āĻāϟāĻŋ Sundance Film Festival-āĻ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇ āĻāĻŦāĻ‚ ā§§ā§Ž āĻĄāĻŋāϏ⧇āĻŽā§āĻŦāϰ, ⧍ā§Ļ⧍ā§Ē-āĻ Amazon Prime Video-āϤ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĒ⧇āϝāĻŧ⧇āϛ⧇ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāĨ¤

āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāĻŋāĻļ⧇āώāϤ āĻŽā§‡āϝāĻŧ⧇āĻĻ⧇āϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻžāϗ⧁āϞ⧋āϕ⧇ āϏ⧁āύāĻŋāĻĒ⧁āĻŖāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻŽā§āĻ­āĻŋāϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻ…āĻ‚āĻļ⧇ āĻĻ⧇āĻ–āĻž āϝāĻžāϝāĻŧ āφāĻ¨ā§āϤāϰāĻŋāĻ•āϤāĻž, āϝāĻž āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ­ā§€āϰāϤāĻžāϕ⧇ āĻŦāĻžāĻĄāĻŧāĻŋāϝāĻŧ⧇ āϤ⧋āϞ⧇āĨ¤ āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āĻāĻ•āϟāĻŋ āĻ…āĻ°ā§āĻĨāĻŦāĻš āĻāĻŦāĻ‚ āφāĻŦ⧇āĻ—āĻĒā§āϰāĻŦāĻŖ āĻ—āĻ˛ā§āĻĒ āϖ⧁āρāϜāϛ⧇āύ, āϤāĻžāĻšāϞ⧇ āĻāϟāĻŋ āĻšāϤ⧇ āĻĒāĻžāϰ⧇ āφāĻĒāύāĻžāϰ āϜāĻ¨ā§āϝ āφāĻĻāĻ°ā§āĻļ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāĨ¤


āĻŽā§āĻ­āĻŋāϰ āĻĻ⧃āĻļā§āϝ āϝ⧇āĻ–āĻžāύ⧇ āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϜāϟāĻŋāϞ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻĢ⧁āĻŸā§‡ āωāϠ⧇āϛ⧇āĨ¤
⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇āϰ āϏ⧇āϰāĻž āĻĄā§āϰāĻžāĻŽāĻž āĻŽā§āĻ­āĻŋ āĻāĻ•ā§āϏāĻĒā§āϞ⧇āχāύ, āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻžāĻ‚āϞāĻžā§ŸāĨ¤

āϚāϰāĻŋāĻ¤ā§āϰ āĻ“ āĻ•āĻžāĻ¸ā§āϟ (Cast and Characters)

āĻāχ āĻŽā§āĻ­āĻŋāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āĻ“ āϤāĻžāĻĻ⧇āϰ āĻĒāĻžāϰāĻĢāϰāĻŽā§āϝāĻžāĻ¨ā§āϏ:

  • āĻĒā§āϰ⧀āϤāĻŋ āĻĒāĻžāύāĻŋāĻ—ā§āϰāĻžāĻšā§€ (āĻŽā§€āϰāĻž āĻ•āĻŋāĻļā§‹āϰ): āĻāĻ• āωāĻœā§āĻœā§āĻŦāϞ āĻāĻŦāĻ‚ āϏāĻžāĻšāϏ⧀ āĻ•āĻŋāĻļā§‹āϰ⧀ āĻŽā§€āϰāĻž āϤāĻžāϰ āĻ¸ā§āϕ⧁āϞ⧇āϰ āĻ•āĻžāĻĒā§āĻŸā§‡āύāĨ¤
  • āϕ⧇āĻļāĻŦ āĻŦāĻŋāύāϝāĻŧ āĻ•āĻŋāϰāĻŖ (āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ): āĻāĻ• āφāĻ•āĻ°ā§āώāĻŖā§€āϝāĻŧ āύāϤ⧁āύ āĻ›āĻžāĻ¤ā§āϰ āϏ⧇ āĻšāĻ‚āĻ•āĻ‚ āĻĨ⧇āϕ⧇ āĻāϏ⧇āϛ⧇āĨ¤
  • āĻ•āĻžāύāĻŋ āϕ⧁āϏāϰ⧁āϤāĻŋ (āĻ…āύāĻŋāϞāĻž): āĻŽā§€āϰāĻžāϰ āϰāĻ•ā§āώāĻŖāĻļā§€āϞ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻŽāĻŽāϤāĻžāĻŽāϝāĻŧā§€ āĻŽāĻž āϖ⧁āĻŦ āĻŽāĻŋāĻļ⧁āĻ•āĨ¤
  • āĻ•āĻžāϜāϞ āϚ⧁āϘ (āĻĒā§āϰāĻŋāϝāĻŧāĻž): āĻŽā§€āϰāĻžāϰ āĻļā§āϰ⧇āĻŖāĻŋāĻ•āĻ•ā§āώ⧇āϰ āĻŦāĻ¨ā§āϧ⧁ āĻŦāϞāĻž āϚāϞ⧇ āĻāĻ•āϜāύāχ āĻŦāĻžāĻ¨ā§āϧāĻŦā§€āĨ¤

āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ• āĻ…āĻ­āĻŋāύ⧇āϤāĻž āϤāĻžāĻĻ⧇āϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ—āĻ­ā§€āϰāϤāĻž āĻāύ⧇āϛ⧇āύ, āϝāĻž āĻŽā§āĻ­āĻŋāϕ⧇ āφāϰ⧋ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤ āĻ•āϰ⧇āϛ⧇āĨ¤


āĻĒā§āϞāϟ āϏāĻžāϰāĻžāĻ‚āĻļ āĻŦāĻž āĻ—āĻ˛ā§āĻĒ⧇āϰ āϏāĻ‚āĻ•ā§āώ⧇āĻĒ (Plot Summary)

āĻŽā§āĻ­āĻŋāϰ āĻ—āĻ˛ā§āĻĒ āĻļ⧁āϰ⧁ āĻšāϝāĻŧ āĻŽā§€āϰāĻž āĻ•āĻŋāĻļā§‹āϰ⧇āϰ āĻ¸ā§āϕ⧁āϞ⧇āϰ āĻĒā§āϰāĻĨāĻŽ āύāĻžāϰ⧀ āĻšā§‡āĻĄ āĻĒā§āϰāĻŋāĻĢ⧇āĻ•ā§āϟ āĻšāĻ“āϝāĻŧāĻžāϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇āĨ¤ āϤāĻžāϰ āĻāχ āĻ…āĻ°ā§āϜāύ⧇ āĻ—āĻ°ā§āĻŦāĻŋāϤ āĻšāϞ⧇āĻ“, āĻŽā§€āϰāĻžāϰ āĻŽāĻž āĻ…āύāĻŋāϞāĻž āϏāĻŦāϏāĻŽāϝāĻŧ āϤāĻžāϕ⧇ āϏāĻ āĻŋāĻ• āĻĒāĻĨ⧇ āϰāĻžāĻ–āĻžāϰ āĻšā§‡āĻˇā§āϟāĻž āĻ•āϰ⧇āύ āϤāĻŦ⧇ āĻŽā§€āϰāĻž āϤāĻžāϰ āĻŽāĻž āϕ⧇ āĻĒāĻ›āĻ¨ā§āĻĻ āĻ•āϰ⧇ āύāĻžāĨ¤ āĻŽā§€āϰāĻžāϰ āĻœā§€āĻŦāύ āύāϤ⧁āύ āĻŽā§‹āĻĄāĻŧ āύ⧇āϝāĻŧ āϝāĻ–āύ āϏ⧇ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ āύāĻžāĻŽā§‡āϰ āĻāĻ• āύāϤ⧁āύ āĻ›āĻžāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻĨ⧇ āĻĒāϰāĻŋāϚāĻŋāϤ āĻšāϝāĻŧāĨ¤ āϤāĻžāĻĻ⧇āϰ āĻĻ⧁āχāϜāύ⧇āϰ āĻœā§āϝ⧋āϤāĻŋāĻ°ā§āĻŦāĻŋāĻĻā§āϝāĻžāϰ āĻĒā§āϰāϤāĻŋ āφāĻ•āĻ°ā§āώāĻŖ āĻ…āύ⧇āĻ• āĻŦ⧇āĻļāĻŋ āĻāĻŦāĻ‚ āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ—āĻ­ā§€āϰ āĻšāϤ⧇ āĻĨāĻžāϕ⧇āĨ¤

āĻŽā§€āϰāĻžāϰ āĻœā§€āĻŦāύ⧇ āϏāĻŽāĻ¸ā§āϝāĻžāϰ āϏ⧂āĻ¤ā§āϰāĻĒāĻžāϤ āĻšāϝāĻŧ āϝāĻ–āύ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ⧇āϰ āϏāĻžāĻĨ⧇ āϤāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•, āĻĒā§āϰāĻĨāĻŽ āĻļāĻžāϰāĻŋāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻ¸ā§āϕ⧁āϞ⧇āϰ āĻĻāĻžāϝāĻŧāĻŋāĻ¤ā§āĻŦ āĻĒāĻžāϞāύ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻ­āĻžāϰāϏāĻžāĻŽā§āϝ āĻŦāϜāĻžāϝāĻŧ āϰāĻžāĻ–āϤ⧇ āϏ⧇ āĻšāĻŋāĻŽāĻļāĻŋāĻŽ āĻ–āĻžāϝāĻŧāĨ¤ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻŽā§€āϰāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āϤāĻžāϕ⧇ āύāϤ⧁āύ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻžāϰ āĻŽā§āĻ–ā§‹āĻŽā§āĻ–āĻŋ āĻ•āϰ⧇ āϤ⧋āϞ⧇, āĻ•āĻŋāĻ¨ā§āϤ⧁ āϤāĻžāϰ āĻŽāĻž āĻ…āύāĻŋāϞāĻžāϰ āĻ…āϤāĻŋāϰāĻŋāĻ•ā§āϤ āϰāĻ•ā§āώāĻŖāĻļā§€āϞāϤāĻž āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϕ⧇ āϜāϟāĻŋāϞ āĻĨ⧇āϕ⧇ āϜāϟāĻŋāϞ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āĻŽā§€āϰāĻž āϝāĻ–āύ āĻ¸ā§āϕ⧁āϞ⧇ āĻ›āĻžāĻ¤ā§āϰāĻĻ⧇āϰ āĻ…āϏāĻŽā§āĻŽāĻžāύ⧇āϰ āĻŽā§āĻ–ā§‹āĻŽā§āĻ–āĻŋ āĻšāϝāĻŧ āĻāĻŦāĻ‚ āĻāĻ•āϜāύ āĻĻāĻžāϝāĻŧāĻŋāĻ¤ā§āĻŦāĻļā§€āϞ āĻĒā§āϰāϧāĻžāύ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻĒāĻžāϞāύ āĻ•āϰāϤ⧇ āĻ—āĻŋāϝāĻŧ⧇ āĻŦā§āϝāĻ°ā§āĻĨ āĻšāϝāĻŧ, āϤāĻ–āύ āϤāĻžāϰ āφāĻ¤ā§āĻŽāĻŦāĻŋāĻļā§āĻŦāĻžāϏ āϭ⧇āϙ⧇ āĻĒāĻĄāĻŧ⧇ āφāϰ āϏ⧇ āύāĻŋāĻœā§‡āϕ⧇ āϚāĻŋāύāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤

āĻāϰāχ āĻŽāĻ§ā§āϝ⧇, āĻŽā§€āϰāĻžāϰ āĻŽāĻž āĻ…āύāĻŋāϞāĻž āϤāĻžāϰ āĻŽā§‡āϝāĻŧ⧇āϰ āĻœā§€āĻŦāύ⧇ āĻļ⧃āĻ™ā§āĻ–āϞāĻž āφāύāϤ⧇ āϚāĻžāχāϞ⧇āĻ“ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇āύ āϝ⧇ āĻŽā§€āϰāĻžāϰ āύāĻŋāϜāĻ¸ā§āĻŦ āϜāĻ—āϤ āĻāĻŦāĻ‚ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϗ⧁āϞ⧋āϕ⧇ āĻĒā§āϰāĻžāϧāĻžāĻ¨ā§āϝ āĻĻ⧇āĻ“āϝāĻŧāĻž āϜāϰ⧁āϰāĻŋāĨ¤ āĻ—āĻ˛ā§āĻĒ⧇ āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϟāĻžāύāĻžāĻĒā§‹āĻĄāĻŧ⧇āύ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦāϕ⧇ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ⧇āϰ āĻĒāϰāĻžāĻŽāĻ°ā§āĻļ āĻāĻŦāĻ‚ āϏāĻšāĻžāϝāĻŧāϤāĻžāϝāĻŧ āĻŽā§€āϰāĻž āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻŽāĻžāύ⧇ āϖ⧁āρāĻœā§‡ āĻĒāĻžāϝāĻŧ āĻāĻŦāĻ‚ āĻāϟāĻŋ āĻ“ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇ āĻļā§āϰ⧀ āϏāĻŦāĻžāϰ āϏāĻžāĻĨ⧇ āĻāĻ•āĻ­āĻžāĻŦ⧇āχ āϚāϞ⧇ āϏ⧇ āϤāĻžāϰ āĻ•āĻžāϛ⧇ āĻ…āĻ¨ā§āϝāϰāĻ•āĻŽ āϕ⧇āω āύāĻžāĨ¤

āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻšā§‚āĻĄāĻŧāĻžāĻ¨ā§āϤ āĻĒāĻ°ā§āϝāĻžāϝāĻŧ⧇, āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āϘāϟāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŽā§€āϰāĻž āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇ āϝ⧇ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻāĻŦāĻ‚ āĻ¸ā§āύ⧇āĻš āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ•āϟāĻŋ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ…āĻ‚āĻļ āϝāĻž āϏ⧇ āĻāϤāĻĻāĻŋāύ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇āύāĻŋāĨ¤ āĻ…āύāĻŋāϞāĻž āϝāĻ–āύ āϤāĻžāϰ āĻŽā§‡āϝāĻŧ⧇āϰ āĻĒāĻžāĻļ⧇ āĻĻāĻžāρāĻĄāĻŧāĻžāύ, āϤāĻ–āύ āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻŽāĻžāĻ¤ā§āϰāĻž āĻĒāĻžāϝāĻŧāĨ¤ āĻļ⧇āώ āĻĻ⧃āĻļā§āϝ⧇ āĻŽā§€āϰāĻž āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϚ⧁āϞ⧇ āϤ⧇āϞ āĻĻāĻŋāĻšā§āϛ⧇, āϝāĻž āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ—āĻ­ā§€āϰ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤ āĻāχ āφāĻŦ⧇āĻ—āϘāύ āϏāĻŽāĻžāĻĒā§āϤāĻŋ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤


āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē): āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ“ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϰ āĻ—āĻ­ā§€āϰāϤāĻžāĨ¤

āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āĻŽā§āĻ­āĻŋāϰ āϏāĻžāĻĨ⧇ āϏāĻ‚āϝ⧋āĻ— āĻŦāĻž āϏāĻžāĻĻ⧃āĻļā§āϝ (Connection to Other Movies)

Lady Bird āĻāĻŦāĻ‚ Girls Will Be Girls āωāĻ­āϝāĻŧāχ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āύāĻŋāϝāĻŧ⧇ āφāϞ⧋āϚāύāĻž āĻ•āϰ⧇āĨ¤ Lady Bird-āĻ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āĻ•ā§āϰāĻŋāĻ¸ā§āϟāĻŋāύ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦ āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āϝ⧇āĻŽāύ āĻāϕ⧇ āĻ…āĻĒāϰāϕ⧇ āĻŦ⧁āĻāϤ⧇ āĻļ⧇āĻ–āĻžāϝāĻŧ, āϤ⧇āĻŽāύāχ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϝāĻŧ āĻŽā§€āϰāĻž āĻāĻŦāĻ‚ āĻ…āύāĻŋāϞāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦ āĻāĻŦāĻ‚ āĻĒ⧁āύāĻ°ā§āĻŽāĻŋāϞāύ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧀āϝāĻŧ āĻŦāĻŋāώāϝāĻŧāĨ¤ Girls Will Be Girls āĻšāĻŋāĻŽāĻžāϞāϝāĻŧ⧇āϰ āĻĒāĻžāĻĻāĻĻ⧇āĻļ⧇ āĻāĻ•āϟāĻŋ āĻŦā§‹āĻ°ā§āĻĄāĻŋāĻ‚ āĻ¸ā§āϕ⧁āϞ⧇ āϏ⧇āϟ āĻšāϞ⧇āĻ“, āĻāϰ āφāĻŦ⧇āĻ— āĻāĻŦāĻ‚ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ•āĻžāĻšāĻŋāύ⧀ āϏāĻžāĻ°ā§āĻŦāϜāύ⧀āύāĨ¤ Lady Bird āĻāĻŦāĻ‚ Girls Will Be Girls āĻāϰ āĻŽāĻ§ā§āϝ⧇ āφāϰāĻ“ āĻāĻ•āϟāĻŋ āĻŽāĻŋāϞ āĻšāϞ⧋, āωāĻ­āϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϝāĻŧ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϛ⧋āϟ āϛ⧋āϟ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞ⧋āϕ⧇ āĻ—āĻ­ā§€āϰ āϏāĻ‚āĻŦ⧇āĻĻāύāĻļā§€āϞāϤāĻžāϰ āϏāĻžāĻĨ⧇ āϚāĻŋāĻ¤ā§āϰāĻŋāϤ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϝ⧇āĻŽāύ āĻŽā§€āϰāĻžāϰ āĻœā§āϝ⧋āϤāĻŋāĻ°ā§āĻŦāĻŋāĻĻā§āϝāĻžāϝāĻŧ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ⧇āϰ āĻĒā§āϰāϤāĻŋ āφāĻ•āĻ°ā§āώāĻŖ āĻŦāĻž āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻžāĻĨ⧇ āĻāĻ•āĻžāĻ¨ā§āϤ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞ⧋āĨ¤ āĻāχ āϧāϰāύ⧇āϰ āĻĻ⧃āĻļā§āϝāϗ⧁āϞ⧋ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽā§āĻ­āĻŋāϰ āϏāĻžāĻĨ⧇ āφāϰāĻ“ āϏāĻ‚āϝ⧁āĻ•ā§āϤ āĻšāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰ⧇āĨ¤

Little Women āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽāϤ⧋, āĻāϟāĻŋ āύāĻžāϰ⧀āĻĻ⧇āϰ āĻœā§€āĻŦāύ, āϤāĻžāĻĻ⧇āϰ āφāĻŦ⧇āĻ— āĻāĻŦāĻ‚ āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻšā§āϝāĻžāϞ⧇āĻžā§āϜāϗ⧁āϞ⧋āϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻĻ⧁āχ āϏāĻŋāύ⧇āĻŽāĻžāϤ⧇āχ āύāĻžāϰ⧀āĻĻ⧇āϰ āφāĻ¤ā§āĻŽ-āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ āĻāĻŦāĻ‚ āĻ¸ā§āĻŦāĻžāϧ⧀āύāϤāĻžāϰ āϜāĻ¨ā§āϝ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽā§‡āϰ āĻ—āĻ˛ā§āĻĒ āĻĒāĻžāĻ“āϝāĻŧāĻž āϝāĻžāϝāĻŧāĨ¤ Girls Will Be Girls-āĻ āĻŽā§€āϰāĻžāϰ āϚāϰāĻŋāĻ¤ā§āϰāϟāĻŋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āĻ•āĻŋāĻļā§‹āϰ⧀āϰ āĻĒā§āϰāϤ⧀āĻ•, āϝ⧇ āύāĻŋāĻœā§‡āϰ āĻœā§€āĻŦāύ⧇āϰ āϞāĻ•ā§āĻˇā§āϝ āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āϖ⧁āρāĻœā§‡ āĻŦ⧇āϰ āĻ•āϰāĻžāϰ āĻšā§‡āĻˇā§āϟāĻž āĻ•āϰāϛ⧇, āϝāĻž Little Women āĻŽā§āĻ­āĻŋāϰ āĻœā§‹ āĻŽāĻžāĻ°ā§āĻšā§‡āϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻĨ⧇ āϤ⧁āϞāύ⧀āϝāĻŧāĨ¤

daraz
āϏāĻŦāĻžāχ āĻ•āĻŋāύ⧁āύ āϏ⧇āϰāĻž āĻĻāĻžāĻŽ āĻĒā§āϰāϤāĻŋāĻĻāĻŋāύ āĻ•ā§āϞāĻŋāĻ• āĻ•āϰ⧁āύ āĻāĻ–āĻžāύ⧇

Eighth Grade āĻāϰ āĻŽāϤ⧋ āĻŽā§āĻ­āĻŋ, āϝ⧇āĻ–āĻžāύ⧇ āĻ•āĻŋāĻļā§‹āϰ-āĻ•āĻŋāĻļā§‹āϰ⧀āĻĻ⧇āϰ āφāĻŦ⧇āĻ— āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽ-āĻĒāϰāĻŋāϚāϝāĻŧ⧇āϰ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύ āĻ—āĻ­ā§€āϰāĻ­āĻžāĻŦ⧇ āϚāĻŋāĻ¤ā§āϰāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϤāĻŦ⧇, Girls Will Be Girls āϤāĻžāϰ āĻ…āύāĻ¨ā§āϝ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāϟ āĻāĻŦāĻ‚ āĻ¸ā§āĻĨāĻžāύ⧀āϝāĻŧ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻāχ āϜāρāϰāĻžāϝāĻŧ āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āϝ⧋āĻ— āĻ•āϰ⧇āϛ⧇āĨ¤

āĻ•āĻŋāϛ⧁ āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇, āĻāχ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻž The Sky is Pink āĻāϰ āϏāĻžāĻĨ⧇āĻ“ āϤ⧁āϞāύ⧀āϝāĻŧ, āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϟāĻŋ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āφāĻŦ⧇āĻ—āϘāύ āĻ—āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻ¸ā§āϤāϰ āϚāĻŋāĻ¤ā§āϰāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ Girls Will Be Girls āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŦāĻŋāĻļ⧇āώāĻ¤ā§āĻŦ āĻšāϞ⧋ āĻāϟāĻŋ āĻāχ āϧāϰāύ⧇āϰ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋āϕ⧇ āĻāĻ•āϟāĻŋ āύāĻŋāϰāĻŦāĻŋāĻšā§āĻ›āĻ¨ā§āύ āĻāĻŦāĻ‚ āĻŦāĻŋāĻļā§āĻŦāϜāύ⧀āύ āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāĻŸā§‡ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āĨ¤

āĻ…āĻ¨ā§āϝāĻĻāĻŋāϕ⧇, āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ Call Me by Your Name āĻāϰ āĻŽāϤ⧋ āĻŽā§āĻ­āĻŋāϰ āϏāĻžāĻĨ⧇āĻ“ āϤ⧁āϞāύ⧀āϝāĻŧ, āϝ⧇āĻ–āĻžāύ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰ⧇āĻŽ āĻāĻŦāĻ‚ āφāĻŦ⧇āϗ⧇āϰ āϜāϟāĻŋāϞāϤāĻžāϗ⧁āϞ⧋ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻŽā§€āϰāĻž āĻāĻŦāĻ‚ āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ…āύāĻŋāĻļā§āϚāϝāĻŧāϤāĻž āĻāĻŦāĻ‚ āφāĻŦ⧇āϗ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āĻāχ āϧāϰāύ⧇āϰ āĻŽā§āĻ­āĻŋāϰ āϏāĻžāĻĨ⧇āĻ“ āϏāĻžāĻĻ⧃āĻļā§āϝāĻĒā§‚āĻ°ā§āĻŖāĨ¤ āĻāχ āϏāĻŦ āĻŽā§āĻ­āĻŋāϰ āϏāĻžāĻĨ⧇ Girls Will Be Girls āĻāϰ āϏāĻžāĻĻ⧃āĻļā§āϝ āĻĨāĻžāĻ•āϞ⧇āĻ“, āĻāϟāĻŋ āϤāĻžāϰ āύāĻŋāϜāĻ¸ā§āĻŦ āĻ—āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻāĻ•āϟāĻŋ āφāϞāĻžāĻĻāĻž āĻĒāϰāĻŋāϚāĻŋāϤāĻŋ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āĻĻ⧇āĻ–āĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧ āϝ⧇ āĻ•āĻŋāĻ­āĻžāĻŦ⧇ āĻāĻ•āϟāĻŋ āĻ¸ā§āĻĨāĻžāύ⧀āϝāĻŧ āĻ—āĻ˛ā§āĻĒ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇ āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ āϜāϝāĻŧ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤

Girls Will Be Girls āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āĻŽāĻžāϞāĻžāϝāĻŧāĻžāϞāĻŽ āĻāĻŦāĻ‚ āϤāĻžāĻŽāĻŋāϞ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻžāĻĨ⧇ āĻ•āĻŋāϛ⧁ āĻŽāĻŋāϞ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻž āϝāĻžā§Ÿ, āĻŦāĻŋāĻļ⧇āώāϤ āϏ⧇āχ āϏāĻŋāύ⧇āĻŽāĻžāϗ⧁āϞ⧋āϰ āϏāĻžāĻĨ⧇ āϝ⧇āĻ–āĻžāύ⧇ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽ-āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ⧇āϰ āĻ—āĻ˛ā§āĻĒ āĻĒā§āϰāϧāĻžāύ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻĒāĻžāϞāύ āĻ•āϰ⧇āĨ¤ āωāĻĻāĻžāĻšāϰāĻŖāĻ¸ā§āĻŦāϰ⧂āĻĒ:

36 Vayadhinile (2015)
āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻāĻ•āϜāύ āύāĻžāϰ⧀āϰ āφāĻ¤ā§āĻŽ-āĻĒāϰāĻŋāϚāϝāĻŧ⧇āϰ āĻ—āĻ˛ā§āĻĒ āϤ⧁āϞ⧇ āϧāϰ⧇, āϝ⧇āĻ–āĻžāύ⧇ āĻāĻ•āϜāύ āĻŽāĻž āϤāĻžāϰ āĻœā§€āĻŦāύ āύāϤ⧁āύ āĻ•āϰ⧇ āĻļ⧁āϰ⧁ āĻ•āϰāĻžāϰ āϜāĻ¨ā§āϝ āĻšā§āϝāĻžāϞ⧇āĻžā§āϜ āĻ—ā§āϰāĻšāĻŖ āĻ•āϰ⧇āĨ¤ Girls Will Be Girls-āĻāϰ āĻŽā§€āϰāĻž āĻāĻŦāĻ‚ āĻ…āύāĻŋāϞāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻŽāϤ⧋, āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϤ⧇āĻ“ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻāĻ•āϟāĻŋ āύāĻžāϰ⧀āϰ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āĻĒā§āϰāĻŦ⧃āĻĻā§āϧāĻŋāϰ āωāĻĒāϰ āĻœā§‹āϰ āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

"āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤ āϜāĻžāύ⧁āύ! āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ“ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĨ¤ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŽā§āĻ­āĻŋ āĻĻ⧇āϖ⧁āύ Joymahidul.com-āĻāĨ¤"

āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻĄā§‡āϏāĻ•ā§āϰāĻŋāĻĒāĻļāύ:
"đŸŽĨ āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻāĻ•ā§āϏāĻĒā§āϞ⧇āχāύ!
āĻāχ āĻŽā§āĻ­āĻŋāϤ⧇ āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āφāĻŦ⧇āĻ—āĻĒā§āϰāĻŦāĻŖ āĻāχ āĻ•āĻžāĻšāĻŋāύ⧀ āφāĻĒāύāĻžāϕ⧇ āĻŽā§āĻ—ā§āϧ āĻ•āϰāĻŦ⧇āĨ¤

👉 āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻ—āĻ˛ā§āĻĒ āĻĒāĻĄāĻŧ⧁āύ āĻāĻ–āĻžāύ⧇: https://joymahidul.com

🔔 āϞāĻžāχāĻ•, āĻļ⧇āϝāĻŧāĻžāϰ āĻāĻŦāĻ‚ āϏāĻžāĻŦāĻ¸ā§āĻ•ā§āϰāĻžāχāĻŦ āĻ•āϰāϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻž!
#Joymahidul #GirlsWillBeGirls"

Kannathil Muthamittal (2002)
āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āφāĻŦ⧇āĻ—āĻŽāϝāĻŧ āϜāϟāĻŋāϞāϤāĻžāϗ⧁āϞ⧋ āĻāĻ–āĻžāύ⧇ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧋āϞāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ Girls Will Be Girls āĻāĻŦāĻ‚ āĻāχ āϏāĻŋāύ⧇āĻŽāĻž āωāĻ­āϝāĻŧāχ āĻĻ⧇āĻ–āĻžāϝāĻŧ āĻ•āĻŋāĻ­āĻžāĻŦ⧇ āĻĒāϰāĻŋāĻŦāĻžāϰ āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻāĻ•āϜāύ āĻŦā§āϝāĻ•ā§āϤāĻŋāϰ āĻœā§€āĻŦāύāϕ⧇ āĻĒā§āϰāĻ­āĻžāĻŦāĻŋāϤ āĻ•āϰ⧇āĨ¤

Uyare (2019)
āĻŽāĻžāϞāĻžāϝāĻŧāĻžāϞāĻŽ āϏāĻŋāύ⧇āĻŽāĻž Uyare āύāĻžāϰ⧀āϰ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ āĻāĻŦāĻ‚ āĻšā§āϝāĻžāϞ⧇āĻžā§āϜ āĻ—ā§āϰāĻšāϪ⧇āϰ āĻ—āĻ˛ā§āĻĒ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻŽā§€āϰāĻžāϰ āĻŽāϤ⧋, Uyare-āĻāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰāĻ“ āĻ•āĻ āĻŋāύ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋāϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇ āύāĻŋāĻœā§‡āϰ āϜāĻžāϝāĻŧāĻ—āĻž āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĨ¤

The Great Indian Kitchen (2021)
āĻāϟāĻŋ āύāĻžāϰ⧀āϰ āĻĻ⧈āύāĻ¨ā§āĻĻāĻŋāύ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽ āĻāĻŦāĻ‚ āϏāĻŽāĻžāĻœā§‡ āύāĻŋāĻœā§‡āϰ āϜāĻžāϝāĻŧāĻ—āĻž āϤ⧈āϰāĻŋāϰ āĻ—āĻ˛ā§āĻĒāĨ¤ āϝāĻĻāĻŋāĻ“ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻĒāϰāĻŋāĻŦ⧇āĻļ āφāϞāĻžāĻĻāĻž, āĻĻ⧁āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϤ⧇āχ āύāĻžāϰ⧀āϰ āφāĻ¤ā§āĻŽ-āωāĻ¨ā§āύāϝāĻŧāύ⧇āϰ āĻĻāĻŋāĻ•āϟāĻŋ āĻ¸ā§āĻĒāĻˇā§āϟāĨ¤

Secret Superstar (2017)
āĻāĻ•āϟāĻŋ āĻ•āĻŋāĻļā§‹āϰ⧀āϰ āύāĻŋāĻœā§‡āϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻĒā§‚āϰāϪ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻšāĻžāϝāĻŧāϤāĻž āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāϧāĻžāύ āĻŦāĻŋāώāϝāĻŧāĨ¤ āĻŽā§€āϰāĻžāϰ āĻ¸ā§āϕ⧁āϞāĻœā§€āĻŦāύ⧇āϰ āĻšā§āϝāĻžāϞ⧇āĻžā§āϜ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻžāĻĨ⧇ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻžāĻĨ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤāĨ¤

āĻāχ āĻŽāĻŋāϞāϗ⧁āϞ⧋ āĻĻ⧇āĻ–āĻžāϝāĻŧ āϝ⧇ Girls Will Be Girls āϤāĻžāϰ āĻ¸ā§āĻĨāĻžāύ⧀āϝāĻŧ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāĻŸā§‡ āĻĨ⧇āϕ⧇āĻ“ āϏāĻžāĻ°ā§āĻŦāϜāύ⧀āύ āĻŦāĻžāĻ°ā§āϤāĻž āĻŦāĻšāύ āĻ•āϰ⧇āĨ¤ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϗ⧁āϞ⧋āϰ āĻŽāĻ§ā§āϝ⧇ āĻ…āύ⧁āϰ⧂āĻĒ āĻĻāĻŋāĻ•āϗ⧁āϞ⧋ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§€ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤ āϏāĻŋāύ⧇āĻŽāĻž āĻāĻŦāĻ‚ āĻĒā§āϰāĻžāϏāĻ™ā§āĻ—āĻŋāĻ• āĻŽāύ⧇ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤


āĻŦāĻžāĻœā§‡āϟ āĻ“ āφāϝāĻŧ (Budget and Income)

“Girls Will Be Girls” āĻŽā§āĻ­āĻŋāϟāĻŋ āĻŽāĻžāĻ¤ā§āϰ ⧍.ā§Ģ āĻŽāĻŋāϞāĻŋāϝāĻŧāύ āĻĄāϞāĻžāϰ āĻŦāĻžāĻœā§‡āĻŸā§‡ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻāϟāĻŋ ⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇āϰ Sundance Film Festival-āĻ āĻĒā§āϰāĻŋāĻŽāĻŋāϝāĻŧāĻžāϰ āĻ•āϰāĻžāϰ āĻĒāϰ āĻŦā§āϝāĻžāĻĒāĻ• āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇āĨ¤ āĻŽā§āĻ­āĻŋāϟāĻŋ Amazon Prime Video-āϤ⧇ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āĻāĻŦāĻ‚ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻĢāĻŋāĻ˛ā§āĻŽ āĻĢ⧇āĻ¸ā§āϟāĻŋāĻ­āĻžāϞāϗ⧁āϞ⧋āϰ āĻ…āĻ‚āĻļāĻ—ā§āϰāĻšāϪ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ ā§§ā§Ļ āĻŽāĻŋāϞāĻŋāϝāĻŧāύ āĻĄāϞāĻžāϰ⧇āϰāĻ“ āĻŦ⧇āĻļāĻŋ āφāϝāĻŧ āĻ•āϰ⧇āĨ¤

āĻāϟāĻŋ āĻĻ⧇āĻ–āĻŋāϝāĻŧ⧇āϛ⧇ āϝ⧇ āĻāĻ•āϟāĻŋ āĻŽā§āĻ­āĻŋ āϏāĻĢāϞ āĻšāϤ⧇ āĻŦāĻĄāĻŧ āĻŦāĻžāĻœā§‡āĻŸā§‡āϰ āĻĒā§āϰāϝāĻŧā§‹āϜāύ āύ⧇āχāĨ¤ āĻŦāϰāĻ‚, āĻāĻ•āϟāĻŋ āĻĒā§āϰāĻ­āĻžāĻŦāĻļāĻžāϞ⧀ āĻ—āĻ˛ā§āĻĒ, āĻĻāĻ•ā§āώ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž, āĻāĻŦāĻ‚ āĻ…āύāĻŦāĻĻā§āϝ āĻ…āĻ­āĻŋāύāϝāĻŧ-āχ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ āϜāϝāĻŧ āĻ•āϰāϤ⧇ āϝāĻĨ⧇āĻˇā§āϟāĨ¤ āĻļ⧁āϚāĻŋ āϤāĻžāϞāĻžāϟāĻŋ-āĻāϰ āύāĻŋāĻ°ā§āĻĻ⧇āĻļāύāĻž āĻāĻŦāĻ‚ āĻĒā§āϰ⧀āϤāĻŋ āĻĒāĻžāύāĻŋāĻ—ā§āϰāĻžāĻšā§€ āĻ“ āϕ⧇āĻļāĻŦ āĻŦāĻŋāύāϝāĻŧ āĻ•āĻŋāϰāϪ⧇āϰ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻāχ āĻŽā§āĻ­āĻŋāϟāĻŋāϕ⧇ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āφāĻ°ā§āĻĨāĻŋāĻ•āĻ­āĻžāĻŦ⧇ āϏāĻĢāϞ āύāϝāĻŧ, āĻŦāϰāĻ‚ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇āĻ“ āĻŦāĻŋāĻļ⧇āώ āĻ¸ā§āĻĨāĻžāύ āĻ•āϰ⧇ āĻĻāĻŋāϝāĻŧ⧇āϛ⧇āĨ¤

āĻāχ āĻŽā§āĻ­āĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āĻŽāύ⧇ āĻ•āϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧ āϝ⧇ āĻŽā§‡āϧāĻž āĻāĻŦāĻ‚ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻžāϰ āĻĻāĻ•ā§āώāϤāĻžāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āφāϏāϞ āĻļāĻ•ā§āϤāĻŋāĨ¤

"āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤ āϜāĻžāύ⧁āύ! āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ“ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĨ¤ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŽā§āĻ­āĻŋ āĻĻ⧇āϖ⧁āύ Joymahidul.com-āĻāĨ¤"

āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻĄā§‡āϏāĻ•ā§āϰāĻŋāĻĒāĻļāύ:
"đŸŽĨ āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻāĻ•ā§āϏāĻĒā§āϞ⧇āχāύ!
āĻāχ āĻŽā§āĻ­āĻŋāϤ⧇ āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āφāĻŦ⧇āĻ—āĻĒā§āϰāĻŦāĻŖ āĻāχ āĻ•āĻžāĻšāĻŋāύ⧀ āφāĻĒāύāĻžāϕ⧇ āĻŽā§āĻ—ā§āϧ āĻ•āϰāĻŦ⧇āĨ¤

👉 āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻ—āĻ˛ā§āĻĒ āĻĒāĻĄāĻŧ⧁āύ āĻāĻ–āĻžāύ⧇: https://joymahidul.com

🔔 āϞāĻžāχāĻ•, āĻļ⧇āϝāĻŧāĻžāϰ āĻāĻŦāĻ‚ āϏāĻžāĻŦāĻ¸ā§āĻ•ā§āϰāĻžāχāĻŦ āĻ•āϰāϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻž!
#Joymahidul #GirlsWillBeGirls"

āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ–āĻŦāϰ, āĻ–āĻžāϰāĻžāĻĒ āϰāĻŋāĻ­āĻŋāω, āĻāĻŦāĻ‚ āωāĻ¤ā§āϤ⧇āϜāύāĻžāĻĒā§‚āĻ°ā§āĻŖ āϤāĻĨā§āϝ

āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ–āĻŦāϰ:
“Girls Will Be Girls” āĻŽā§āĻ­āĻŋāϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āφāĻ•āĻ°ā§āώāĻŖā§€āϝāĻŧ āĻĻāĻŋāĻ• āĻ›āĻŋāϞ āĻāϰ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻĒā§āϰāĻ•ā§āϰāĻŋāϝāĻŧāĻžāĨ¤ āĻĒ⧁āϰ⧋ āĻ•āĻžāϜāϟāĻŋ āĻĒāϰāĻŋāϚāĻžāϞāĻŋāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞ āĻāĻ•āϟāĻŋ āύāĻžāϰ⧀-āύāĻŋāĻ°ā§āĻ­āϰ āĻĻāϞ āĻĻā§āĻŦāĻžāϰāĻžāĨ¤ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻļ⧁āϚāĻŋ āϤāĻžāϞāĻžāϟāĻŋ āϜāĻžāύāĻŋāϝāĻŧ⧇āϛ⧇āύ, āϤāĻžāϰāĻž āĻāĻ•āϟāĻŋ āύāĻŋāϰāĻžāĻĒāĻĻ āĻāĻŦāĻ‚ āϏāĻšāϝ⧋āĻ—āĻŋāϤāĻžāĻŽā§‚āϞāĻ• āĻ•āĻžāĻœā§‡āϰ āĻĒāϰāĻŋāĻŦ⧇āĻļ āύāĻŋāĻļā§āϚāĻŋāϤ āĻ•āϰāϤ⧇ āĻšā§‡āϝāĻŧ⧇āĻ›āĻŋāϞ⧇āύ, āϝ⧇āĻ–āĻžāύ⧇ “āĻŽā§‡āϝāĻŧ⧇āϰāĻž āĻŽā§‡āϝāĻŧ⧇āĻĻ⧇āϰ āĻŽāϤ⧋ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤” āĻāϟāĻŋ āύāĻžāϰ⧀ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ⧇āϰ āĻāĻ•āϟāĻŋ āĻ…āύāĻ¨ā§āϝ āωāĻĻāĻžāĻšāϰāĻŖāĨ¤

āĻ–āĻžāϰāĻžāĻĒ āϰāĻŋāĻ­āĻŋāω:
āϤāĻŦ⧇, āĻāχ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻ•āĻŋāϛ⧁ āĻŽāĻŋāĻļā§āϰ āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋāϝāĻŧāĻž āĻĒ⧇āϝāĻŧ⧇āϛ⧇āĨ¤ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻāĻ•āϟāĻŋ āĻ…āĻ‚āĻļ āĻŽāύ⧇ āĻ•āϰ⧇āϛ⧇āύ, āĻŽā§āĻ­āĻŋāϰ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧ āĻ…āĻ‚āĻļ⧇āϰ āĻ—āϤāĻŋ āĻ•āĻŋāϛ⧁āϟāĻž āϧ⧀āϰ āĻšāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇, āϝāĻž āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āϏāĻ‚āϝ⧋āĻ— āĻ•āĻŋāϛ⧁āĻ•ā§āώāϪ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻŋāĻšā§āĻ›āĻŋāĻ¨ā§āύ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϝāĻĻāĻŋāĻ“ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋āϰ āϏ⧂āĻ•ā§āĻˇā§āĻŽ āĻĒā§āϰāĻ•āĻžāĻļ āĻāχ āϏ⧀āĻŽāĻžāĻŦāĻĻā§āϧāϤāĻžāϕ⧇ āĻ›āĻžāĻĒāĻŋāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤

āωāĻ¤ā§āϤ⧇āϜāύāĻžāĻĒā§‚āĻ°ā§āĻŖ āϤāĻĨā§āϝ:
āĻāχ āĻŽā§āĻ­āĻŋāϟāĻŋ ⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇āϰ Sundance Film Festival-āĻ āĻ…āĻ‚āĻļāĻ—ā§āϰāĻšāĻŖ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻĻ⧁āχāϟāĻŋ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āϜāĻŋāϤ⧇ āύ⧇āϝāĻŧāĨ¤ āĻāϟāĻŋ World Cinema Drama Audience Award āĻāĻŦāĻ‚ Special Jury Award for Acting āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ⧇ āĻ­ā§‚āώāĻŋāϤ āĻšāϝāĻŧāĨ¤ āĻŽā§āĻ­āĻŋāϰ āĻ…āĻ­āĻŋāύāϝāĻŧāĻļāĻŋāĻ˛ā§āĻĒā§€ āĻāĻŦāĻ‚ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻžāϰ āĻ­āĻ™ā§āĻ—āĻŋ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§€ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĒā§āϰāĻŽāĻžāĻŖ āĻ•āϰ⧇, āĻāĻ•āϟāĻŋ āϏāĻžāĻšāϏ⧀ āĻ—āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āύāĻŋāĻ°ā§āĻŽāĻžāĻŖāĻļ⧈āϞ⧀ āĻŦāĻŋāĻļā§āĻŦāĻŽāĻžā§āĻšā§‡ āϕ⧇āĻŽāύ āĻĒā§āϰāĻ­āĻžāĻŦ āĻĢ⧇āϞāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤


āϰ⧇āϟāĻŋāĻ‚āϏ (Ratings)

  • Rotten Tomatoes: ā§§ā§Ļā§Ļ% (ā§Ģā§§ āϰāĻŋāĻ­āĻŋāω)
  • Metacritic: ⧭⧝/ā§§ā§Ļā§Ļ
  • IMDb: ā§­.ā§§/ā§§ā§Ļ
  • āφāĻŽāĻžāϰ āϰ⧇āϟāĻŋāĻ‚: ⧝/ā§§ā§Ļ (āĻ—āĻ­ā§€āϰ āφāĻŦ⧇āĻ—āĻĒā§‚āĻ°ā§āĻŖ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϜāĻ¨ā§āϝ)āĨ¤

āϕ⧇āύ āĻĻ⧇āĻ–āĻŦ⧇āύ?

“Girls Will Be Girls” āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĒā§āϰ⧇āĻŽ, āĻĒāϰāĻŋāϚāϝāĻŧ, āĻāĻŦāĻ‚ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻāĻ•āϟāĻŋ āĻŽāĻ°ā§āĻŽāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻ—āĻ˛ā§āĻĒāĨ¤ āĻāϟāĻŋ āϕ⧇āĻŦāϞ āĻāĻ•āϟāĻŋ āĻ•āĻžāĻšāĻŋāύāĻŋ āύāϝāĻŧ; āĻāϟāĻŋ āĻāĻŽāύ āĻāĻ• āφāĻŦ⧇āĻ—āϘāύ āϝāĻžāĻ¤ā§āϰāĻž āϝ⧇āĻ–āĻžāύ⧇ āφāĻĒāύāĻŋ āύāĻŋāĻœā§‡āϕ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āĻĢ⧇āϞāĻŦ⧇āύāĨ¤

āĻŽā§āĻ­āĻŋāϟāĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āύāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻāĻ•āϜāύ āĻ•āĻŋāĻļā§‹āϰ⧀ āĻŽā§‡āϝāĻŧ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ⧇, āϝ⧇āĻ–āĻžāύ⧇ āϏ⧇ āĻĒā§āϰāĻĨāĻŽ āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻ¸ā§āĻŦāĻžāĻĻ āĻĒāĻžāϝāĻŧ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āύāϤ⧁āύ āϰ⧂āĻĒ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ āĻ•āϰ⧇āĨ¤ āĻāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻŽāϜāĻžāĻĻāĻžāϰ āĻāĻŦāĻ‚ āĻšā§ƒāĻĻāϝāĻŧāĻ—ā§āϰāĻžāĻšā§€ āύāϝāĻŧ, āĻŦāϰāĻ‚ āϏāĻŽāĻžāĻœā§‡āϰ āĻ—āĻ­ā§€āϰ āϏāĻŽāĻ¸ā§āϝāĻžāϗ⧁āϞ⧋āĻ“ āϤ⧁āϞ⧇ āϧāϰ⧇, āϝ⧇āĻŽāύ āύāĻžāϰ⧀-āĻĒ⧁āϰ⧁āώ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻŦ⧈āώāĻŽā§āϝ āĻāĻŦāĻ‚ āĻ•āĻŋāĻļā§‹āϰ⧀ āĻŽā§‡āϝāĻŧ⧇āĻĻ⧇āϰ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽāĨ¤

Sundance Film Festival-āĻ āĻĻ⧁āϟāĻŋ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āϜāϝāĻŧ āĻ•āϰ⧇, āĻŽā§āĻ­āĻŋāϟāĻŋ āχāϤāĻŋāĻŽāĻ§ā§āϝ⧇ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ āϜāϝāĻŧ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻĒā§āϰ⧀āϤāĻŋ āĻĒāĻžāύāĻŋāĻ—ā§āϰāĻžāĻšā§€ āĻāĻŦāĻ‚ āĻ•āĻžāύāĻŋ āϕ⧁āϏāϰ⧁āϤāĻŋ-āϰ āĻ…āύāĻŦāĻĻā§āϝ āĻ…āĻ­āĻŋāύāϝāĻŧ āφāĻĒāύāĻžāϕ⧇ āĻĒāĻ°ā§āĻĻāĻžāϝāĻŧ āφāϟāϕ⧇ āϰāĻžāĻ–āĻŦ⧇āĨ¤

👉 āφāĻŽāĻžāϰ āĻ­āĻŋāĻĄāĻŋāĻ“ āĻĻ⧇āĻ–āϤ⧇āĻ“ āϭ⧁āϞāĻŦ⧇āύ āύāĻž, āϝ⧇āĻ–āĻžāύ⧇ āφāĻŽāĻŋ āĻĒ⧁āϰ⧋ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤāĻ­āĻžāĻŦ⧇ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰ⧇āĻ›āĻŋāĨ¤ āφāĻĒāύāĻžāϰ āĻ­āĻžāϞ⧋ āϞāĻžāĻ—āϞ⧇ āφāĻŽāĻžāϰ āϞāĻŋāĻ‚āĻ• āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰ⧇ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĻ⧇āϖ⧇ āύāĻŋāύ āĻāĻŦāĻ‚ āύāϤ⧁āύ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰ⧁āύāĨ¤ āĻāχ āĻ…āύāĻ¨ā§āϝ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻĒ⧇āϤ⧇ āĻāĻ–āύāχ Amazon Prime Video-āϤ⧇ “Girls Will Be Girls” āĻĻ⧇āϖ⧁āύāĨ¤

āĻāχ āĻŽā§āĻ­āĻŋ āĻļ⧁āϧ⧁ āĻĻ⧇āĻ–āĻŦ⧇āύāχ āύāĻž, āύāĻŋāĻœā§‡āϰ āφāĻŦ⧇āϗ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏāĻ‚āϝ⧋āĻ— āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻŦ⧇āύāĨ¤


āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āĻĒā§āϰāĻļā§āύ⧇āϰ āĻŽāĻ§ā§āϝ⧇ ā§§ā§ĻāϟāĻŋ (10 Popular FAQs)

ā§§. Girls Will Be Girls āϕ⧀ āύāĻŋāϝāĻŧ⧇?
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻāĻ• āĻ•āĻŋāĻļā§‹āϰ⧀ āĻŽā§‡āϝāĻŧ⧇āϰ āĻĒā§āϰ⧇āĻŽ, āĻĒāϰāĻŋāϚāϝāĻŧ, āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻ™ā§āϗ⧇ āϜāϟāĻŋāϞ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ˛ā§āĻĒ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āφāϏāĻž-āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻ—āĻ˛ā§āĻĒāĨ¤

⧍. āĻāϟāĻŋ āϕ⧇ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ?
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ āĻļ⧁āϚāĻŋ āϤāĻžāϞāĻžāϟāĻŋāĨ¤ āĻāϟāĻŋ āϤāĻžāϰ āĻĒā§āϰāĻĨāĻŽ āĻĢāĻŋāϚāĻžāϰ āĻĢāĻŋāĻ˛ā§āĻŽ āĻāĻŦāĻ‚ āύāĻŋāĻ°ā§āĻŽāĻžāϪ⧇ āϤāĻŋāύāĻŋ āύāĻžāϰ⧀āĻĻ⧇āϰ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ⧇āϰ āωāĻĒāϰ āĻœā§‹āϰ āĻĻāĻŋāϝāĻŧ⧇āϛ⧇āύāĨ¤

ā§Š. āĻŽā§āĻ­āĻŋāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āĻ•āĻžāϰāĻž?
āĻŽā§€āϰāĻž āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻĒā§āϰ⧀āϤāĻŋ āĻĒāĻžāύāĻŋāĻ—ā§āϰāĻžāĻšā§€, āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āϕ⧇āĻļāĻŦ āĻŦāĻŋāύāϝāĻŧ āĻ•āĻŋāϰāĻŖ, āĻāĻŦāĻ‚ āĻŽā§€āϰāĻžāϰ āĻŽāĻž āĻ…āύāĻŋāϞāĻž āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ•āĻžāύāĻŋ āϕ⧁āϏāϰ⧁āϤāĻŋ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇āύāĨ¤

ā§Ē. āĻŽā§āĻ­āĻŋāϟāĻŋ āϕ⧋āĻĨāĻžāϝāĻŧ āĻļ⧁āϟ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇?
āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻ­āĻžāϰāϤ⧇āϰ āωāĻ¤ā§āϤāϰ⧇āϰ āĻĒāĻžāĻšāĻžāĻĄāĻŧāĻŋ āĻāϞāĻžāĻ•āĻž āωāĻ¤ā§āϤāϰāĻžāĻ–āĻŖā§āĻĄ āĻāĻŦāĻ‚ āĻĻ⧇āϰāĻžāĻĻ⧁āύ⧇ āĻļ⧁āϟ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

ā§Ģ. āĻŽā§āĻ­āĻŋāϟāĻŋāϰ āĻŦāĻžāĻœā§‡āϟ āĻ•āϤ āĻ›āĻŋāϞ?
āĻŽāĻžāĻ¤ā§āϰ ⧍.ā§Ģ āĻŽāĻŋāϞāĻŋāϝāĻŧāύ āĻĄāϞāĻžāϰ⧇āϰ āĻŦāĻžāĻœā§‡āĻŸā§‡ āϤ⧈āϰāĻŋ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĻāĻžāϰ⧁āĻŖ āĻļāĻŋāĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻžāϰ āĻ•ā§āώāĻŽāϤāĻžāϰ āĻĒā§āϰāĻŽāĻžāĻŖāĨ¤

ā§Ŧ. Girls Will Be Girls āĻ•āϤ āφāϝāĻŧ āĻ•āϰ⧇āϛ⧇?
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§€ ā§§ā§Ļ āĻŽāĻŋāϞāĻŋāϝāĻŧāύ āĻĄāϞāĻžāϰ⧇āϰ āĻŦ⧇āĻļāĻŋ āφāϝāĻŧ āĻ•āϰ⧇ āĻāĻ•āϟāĻŋ āϛ⧋āϟ āĻŦāĻžāĻœā§‡āĻŸā§‡āϰ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŦāĻĄāĻŧ āϏāĻĢāϞāϤāĻžāϰ āωāĻĻāĻžāĻšāϰāĻŖāĨ¤

ā§­. āĻāϟāĻŋ āϕ⧋āĻĨāĻžāϝāĻŧ āĻĻ⧇āĻ–āĻž āϝāĻžāĻŦ⧇?
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻŦāĻ°ā§āϤāĻŽāĻžāύ⧇ Amazon Prime Video-āϤ⧇ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚āϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āωāĻĒāϞāĻŦā§āϧāĨ¤

"āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤ āϜāĻžāύ⧁āύ! āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ“ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāĨ¤ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŽā§āĻ­āĻŋ āĻĻ⧇āϖ⧁āύ Joymahidul.com-āĻāĨ¤"

āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻĄā§‡āϏāĻ•ā§āϰāĻŋāĻĒāĻļāύ:
"đŸŽĨ āĻ—āĻžāĻ°ā§āϞāϏ āωāχāϞ āĻŦāĻŋ āĻ—āĻžāĻ°ā§āϞāϏ (⧍ā§Ļ⧍ā§Ē) āĻŽā§āĻ­āĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻāĻ•ā§āϏāĻĒā§āϞ⧇āχāύ!
āĻāχ āĻŽā§āĻ­āĻŋāϤ⧇ āĻŽāĻž-āĻŽā§‡ā§Ÿā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āϞ⧁āĻ•āĻžāύ⧋ āĻ—āĻ˛ā§āĻĒ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ•āϰāĻž āĻšā§Ÿā§‡āϛ⧇āĨ¤ āφāĻŦ⧇āĻ—āĻĒā§āϰāĻŦāĻŖ āĻāχ āĻ•āĻžāĻšāĻŋāύ⧀ āφāĻĒāύāĻžāϕ⧇ āĻŽā§āĻ—ā§āϧ āĻ•āϰāĻŦ⧇āĨ¤

👉 āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻ—āĻ˛ā§āĻĒ āĻĒāĻĄāĻŧ⧁āύ āĻāĻ–āĻžāύ⧇: https://joymahidul.com

🔔 āϞāĻžāχāĻ•, āĻļ⧇āϝāĻŧāĻžāϰ āĻāĻŦāĻ‚ āϏāĻžāĻŦāĻ¸ā§āĻ•ā§āϰāĻžāχāĻŦ āĻ•āϰāϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻž!
#Joymahidul #GirlsWillBeGirls"

ā§Ž. āĻŽā§āĻ­āĻŋāϟāĻŋāϰ āĻŦāĻŋāĻļ⧇āώāĻ¤ā§āĻŦ āϕ⧀?
āĻŽā§āĻ­āĻŋāϟāĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āύāĻžāϰ⧀-āύāĻŋāĻ°ā§āĻ­āϰ āĻĒā§āϰ⧋āĻĄāĻžāĻ•āĻļāύ āϟāĻŋāĻŽ āĻĻā§āĻŦāĻžāϰāĻž āύāĻŋāĻ°ā§āĻŽāĻŋāϤ, āϝāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āύāĻŋāĻ°ā§āĻŽāĻžāϪ⧇ āύāĻžāϰ⧀āĻĻ⧇āϰ āĻ­ā§‚āĻŽāĻŋāĻ•āĻž āĻœā§‹āϰāĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤

⧝. āĻŽā§āĻ­āĻŋāϟāĻŋ āϕ⧋āύ āĻĢ⧇āĻ¸ā§āϟāĻŋāĻ­āĻžāϞ⧇ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇?
Sundance Film Festival-āĻ āĻĒā§āϰāĻŋāĻŽāĻŋāϝāĻŧāĻžāϰ āĻšāĻ“āϝāĻŧāĻžāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻāϟāĻŋ Busan āĻāĻŦāĻ‚ MAMI Film Festival-āĻāϰ āĻŽāϤ⧋ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āχāϭ⧇āĻ¨ā§āϟāϗ⧁āϞ⧋āϤ⧇āĻ“ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

ā§§ā§Ļ. āĻŽā§āĻ­āĻŋāϰ āĻŦāĻžāĻ°ā§āϤāĻž āϕ⧀?
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻ•āĻŋāĻļā§‹āϰ⧀ āĻŽā§‡āϝāĻŧ⧇āĻĻ⧇āϰ āφāĻ¤ā§āĻŽāĻĒāϰāĻŋāϚāϝāĻŧ, āύāĻžāϰ⧀ āĻ•ā§āώāĻŽāϤāĻžāϝāĻŧāύ, āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āύāĻŋāϝāĻŧ⧇ āĻāĻ•āϟāĻŋ āχāϤāĻŋāĻŦāĻžāϚāĻ• āĻāĻŦāĻ‚ āĻļāĻŋāĻ•ā§āώāĻŖā§€āϝāĻŧ āĻŦāĻžāĻ°ā§āϤāĻž āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰ⧇āĨ¤


āωāĻĒāϏāĻ‚āĻšāĻžāϰ

“Girls Will Be Girls” āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž āύāϝāĻŧ; āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϰ āĻ—āĻ­ā§€āϰ āϝāĻžāĻ¤ā§āϰāĻžāĨ¤ āĻŽā§āĻ­āĻŋāϟāĻŋ āĻŽāĻž-āĻŽā§‡āϝāĻŧ⧇āϰ āϜāϟāĻŋāϞ āϏāĻŽā§āĻĒāĻ°ā§āĻ•, āĻĒā§āϰ⧇āĻŽā§‡āϰ āĻĒā§āϰāĻĨāĻŽ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž, āĻāĻŦāĻ‚ āϏāĻŽāĻžāĻœā§‡āϰ āϚāĻžāĻĒ⧇āϰ āĻĒā§āϰāĻ­āĻžāĻŦāϕ⧇ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻžāϰ āφāϞ⧋āϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤

āĻāϟāĻŋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āĻ—āĻ˛ā§āĻĒ āϝāĻž āφāĻŽāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϗ⧁āϞāĻŋāϕ⧇ āύāϤ⧁āύāĻ­āĻžāĻŦ⧇ āĻ­āĻžāĻŦāϤ⧇ āĻļ⧇āĻ–āĻžāϝāĻŧāĨ¤ āĻļ⧇āώ āĻĻ⧃āĻļā§āϝāϟāĻŋ āφāĻŦ⧇āĻ—āĻĒā§‚āĻ°ā§āĻŖ āĻāĻŦāĻ‚ āϏāĻ¨ā§āϤ⧋āώāϜāύāĻ•, āϤāĻŦ⧇ āφāĻĒāύāĻŋ āϕ⧀ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āĻļ⧇āώāϟāĻž āĻ…āĻ¨ā§āϝāĻ­āĻžāĻŦ⧇ āĻšāϞ⧇ āϕ⧇āĻŽāύ āĻšāϤ⧋? āĻŽā§€āϰāĻž āĻāĻŦāĻ‚ āϤāĻžāϰ āĻŽāĻžāϝāĻŧ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āύāϤ⧁āύ āϕ⧋āύ⧋ āĻĻāĻŋāĻ• āĻ•āĻŋ āĻĻ⧇āĻ–āĻž āϝ⧇āϤ? āĻļā§āϰ⧀āύāĻŋāĻŦāĻžāϏ āĻ•āĻŋ āĻ­āĻŋāĻ¨ā§āύāĻ­āĻžāĻŦ⧇ āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋāϝāĻŧāĻž āĻĻāĻŋāϤ⧇ āĻĒāĻžāϰāϤ?

āφāĻĒāύāĻžāϰ āĻŽāϤāĻžāĻŽāϤ āĻĻāĻŋāύ:
āĻŽā§āĻ­āĻŋāϟāĻŋ āĻĻ⧇āĻ–āĻžāϰ āĻĒāϰ āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āĻļ⧇āώ āĻĻ⧃āĻļā§āϝāϟāĻŋ āύāϤ⧁āύāĻ­āĻžāĻŦ⧇ āϚāĻŋāĻ¨ā§āϤāĻž āĻ•āϰ⧇āύ, āϤāĻžāĻšāϞ⧇ āϕ⧀āĻ­āĻžāĻŦ⧇ āϏ⧇āϟāĻž āĻšāϤ⧇ āĻĒāĻžāϰāϤ? āφāĻŽāĻžāĻĻ⧇āϰ āϜāĻžāύāĻžāϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻžāĨ¤

āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž āϏāĻŋāύ⧇āĻŽāĻž āĻ…āĻŦāĻļā§āϝāχ āϏāĻ•āϞ⧇āϰ āĻĻ⧇āĻ–āĻž āωāϚāĻŋāϤ

āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž: āĻāĻ•āϟāĻŋ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻžāĻ‚āϞāĻž āĻŽā§āĻ­āĻŋ āϰāĻŋāĻ­āĻŋāω

āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻĒ⧇āϤ⧇ āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻŽāϧ⧁āϰ āĻŽā§āĻšā§‚āĻ°ā§āϤ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāϤ⧇ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž”-āϰ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āφāĻĒāύāĻžāϰ āϏāĻ™ā§āĻ—ā§€ āĻšā§‹āύ!

“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻāĻŽāύ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž, āϝāĻž āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž, āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž āĻāĻŦāĻ‚ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāϰ āĻļāĻŋāĻ•ā§āώāĻž āĻĻ⧇āϝāĻŧ āϝāĻž āĻŽāĻžāύ⧁āώ⧇āϰ āϚāĻŋāĻ¨ā§āϤāĻž āĻĒā§āϰāϏāĻžāϰ āĻ•āϰ⧇ āĨ¤ ⧍ā§Ļā§§ā§§ āϏāĻžāϞ⧇ āĻŽā§āĻ•ā§āϤāĻŋāĻĒā§āϰāĻžāĻĒā§āϤ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāϞāĻŋāωāĻĄā§‡āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āϏ⧇āϰāĻž āĻāĻ•āϟāĻŋ āĻ•ā§āϞāĻžāϏāĻŋāĻ• āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒāϰāĻŋāϚāĻŋāϤāĨ¤ āĻĒāϰāĻŋāϚāĻžāϞāĻŋāĻ•āĻž āϜāϝāĻŧāĻž āφāĻ–āϤāĻžāϰ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϕ⧇ āĻāĻŽāύāĻ­āĻžāĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āϛ⧇āύ, āϝāĻž āφāĻŽāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻŦā§āϝāĻ¸ā§āϤāϤāĻž āĻĨ⧇āϕ⧇ āĻāĻ•āϟ⧁ āĻŦāĻŋāϰāϤāĻŋ āύāĻŋā§Ÿā§‡ āύāĻŋāĻœā§‡āϰ āĻœā§€āĻŦāύ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāϤ⧇ āĻļ⧇āĻ–āĻžā§ŸāĨ¤

āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āĻ•āĻ–āύ⧋ āĻŽāύ⧇ āĻ•āϰ⧇āύ, āĻœā§€āĻŦāύ⧇ āφāύāĻ¨ā§āĻĻ⧇āϰ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞ⧋ āĻšāĻžāϤāĻ›āĻžāĻĄāĻŧāĻž āĻšāϝāĻŧ⧇ āϝāĻžāĻšā§āϛ⧇, āϤāĻžāĻšāϞ⧇ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āφāĻĒāύāĻžāϰ āϜāĻ¨ā§āϝ āφāĻĻāĻ°ā§āĻļāĨ¤ āĻāϟāĻŋ āϕ⧇āĻŦāϞ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž āύāϝāĻŧ; āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻœā§€āĻŦāύāĻŦā§‹āϧāĨ¤


āĻ•āĻžāĻ¸ā§āϟ āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰ

āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ›āĻŋāϞ⧇āύ:

  • āĻšā§ƒāĻ¤ā§āĻŦāĻŋāĻ• āϰ⧋āĻļāύ (āĻ…āĻ°ā§āϜ⧁āύ): āĻāĻ•āϜāύ āĻ•āĻ°ā§āĻŽāĻĒāĻžāĻ—āϞ āĻŽāĻžāύ⧁āώ, āϝāĻŋāύāĻŋ āϤāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻŦā§āϝāĻ¸ā§āϤāϤāĻžāϝāĻŧ āφāύāĻ¨ā§āĻĻ⧇āϰ āϏāĻŽāϝāĻŧ āϖ⧁āρāĻœā§‡ āĻĒāĻžāϝāĻŧ āύāĻž āϝ⧇ āϟāĻžāĻ•āĻž āχāύāĻ•āĻžāĻŽ āĻ•āϰāĻž āĻ›āĻžā§œāĻž āĻ•āĻŋāϛ⧁ āĻŦ⧁āĻāϤ āύāĻž, āĻĒāϰ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻ…āĻ°ā§āĻĨ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤
  • āĻĢāĻžāϰāĻšāĻžāύ āφāĻ–āϤāĻžāϰ (āχāĻŽāϰāĻžāύ): āĻāĻ•āϜāύ āĻ•āĻŦāĻŋ, āϝāĻžāϰ āĻŽāύ⧋āĻŽā§āĻ—ā§āϧāĻ•āϰ āĻ•āĻžāĻŦā§āϝāĻŋāĻ• āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻŦāĻžāĻĄāĻŧāĻŋāϝāĻŧ⧇āϛ⧇ āφāϰ āϤāĻžāϰ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻĢāĻžāύāĻŋ āĻ…āĻ­āĻŋāύ⧟āĨ¤
  • āĻ…āĻ­āϝāĻŧ āĻĻ⧇āĻ“āϞ (āĻ•āĻŦā§€āϰ): āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻāĻŦāĻ‚ āĻšāĻžāϏāĻŋāϖ⧁āĻļāĻŋ āĻāĻ•āϜāύ āϚāϰāĻŋāĻ¤ā§āϰ, āϝāĻžāϰ āĻŦāĻŋāϝāĻŧ⧇āϰ āĻĒāϰāĻŋāĻ•āĻ˛ā§āĻĒāύāĻž āĻāχ āϝāĻžāĻ¤ā§āϰāĻžāϰ āϏ⧂āϚāύāĻž āĻ•āϰ⧇āĨ¤ āĻŦāĻ¨ā§āϧ⧁āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āφāϰ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āĻŦāĻ¨ā§āϧāύ āĻĢ⧁āĻŸā§‡ āϤ⧋āϞ⧇āĨ¤
  • āĻ•ā§āϝāĻžāϟāϰāĻŋāύāĻž āĻ•āĻžāχāĻĢ (āϞāĻžāϝāĻŧāϞāĻž): āĻāĻ•āϜāύ āĻ¸ā§āϕ⧁āĻŦāĻž āĻĄāĻžāχāĻ­āĻŋāĻ‚ āĻĒā§āϰāĻļāĻŋāĻ•ā§āώāĻ•, āϝāĻŋāύāĻŋ āĻ…āĻ°ā§āϜ⧁āύāϕ⧇ āĻœā§€āĻŦāύ⧇āϰ āφāϏāϞ āĻŽāĻžāύ⧇ āĻļ⧇āĻ–āĻžāϝāĻŧāĨ¤ āϤāĻžāϰ āĻœā§€āĻŦāύ āωāĻ¨ā§āĻŽā§āĻ•ā§āϤ, āĻœā§€āĻŦāύ āϝāĻžāϕ⧇ āφāύāĻ¨ā§āĻĻ āĻĻā§‡ā§ŸāĨ¤
  • āĻ•āĻ˛ā§āĻ•āĻŋ āϕ⧋āϝāĻŧ⧇āϚāϞāĻŋāύ (āύāĻžāϤāĻžāĻļāĻž): āĻ•āĻŦā§€āϰ⧇āϰ āĻŦāĻžāĻ—āĻĻāĻ¤ā§āϤāĻž, āϝāĻžāϰ āϏāĻ™ā§āϗ⧇ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϟāĻžāύāĻžāĻĒā§‹āĻĄāĻŧ⧇āύ āĻ—āĻ˛ā§āĻĒ⧇ āύāϤ⧁āύ āĻŽāĻžāĻ¤ā§āϰāĻž āϝ⧋āĻ— āĻ•āϰ⧇āĨ¤ āϏāĻŋāύ⧇āĻŽāĻžā§Ÿ āĻāχ āϚāϰāĻŋāĻ¤ā§āϰ āĻĒā§āϰāĻžāϏāĻ™ā§āĻ—āĻŋāĻ• āϤāĻŦ⧇ āĻŦāĻŋāϰāĻ•ā§āϤāĻŋāĻ•āϰāĨ¤

āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ• āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻ…āύāĻŦāĻĻā§āϝ āĻ…āĻ­āĻŋāύāϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϕ⧇ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āĨ¤


āĻ¸ā§āĻĒ⧇āύ⧇āϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āĻœā§€āĻŦāύāĻĒāĻžāϠ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĨ¤
āĻœā§€āĻŦāύāϕ⧇ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāϰ āϏ⧇āϰāĻž āωāĻĒāĻžāϝāĻŧ āĻĻ⧇āϖ⧁āύāĨ¤

āĻĒā§āϞāϟ āϏāĻžāϰāĻžāĻ‚āĻļ āĻŦāĻž āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻŽā§‚āϞāĻ•āĻĨāĻž

āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ āϤāĻŋāύ āĻ¸ā§āϕ⧁āϞāĻœā§€āĻŦāύ⧇āϰ āĻŦāĻ¨ā§āϧ⧁āϕ⧇ āϘāĻŋāϰ⧇ āĻļ⧁āϰ⧁ āĻšāϝāĻŧāĨ¤ āĻ•āĻŦā§€āϰ, āχāĻŽāϰāĻžāύ āĻāĻŦāĻ‚ āĻ…āĻ°ā§āϜ⧁āύ āĻāĻ•āϟāĻŋ āĻŦā§āϝāĻžāĻšā§‡āϞāϰ āĻŸā§āϰāĻŋāĻĒ⧇ āĻ¸ā§āĻĒ⧇āύ⧇ āϤāĻžāĻĻ⧇āϰ āĻĒāĻ›āĻ¨ā§āĻĻ⧇āϰ āϜāĻžā§ŸāĻ—āĻž āϗ⧁āϞ⧋āϤ⧇ āĻ­ā§āϰāĻŽāϪ⧇ āϝāĻžāϝāĻŧāĨ¤ āϤāĻžāĻĻ⧇āϰ āĻļāĻ°ā§āϤ āĻ›āĻŋāϞ, āĻĒā§āϰāĻ¤ā§āϝ⧇āϕ⧇ āĻāĻ•āϟāĻŋ āĻ•āϰ⧇ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ āύāĻŋāĻ°ā§āĻŦāĻžāϚāύ āĻ•āϰāĻŦ⧇ āϤāĻŦ⧇ āĻĒā§āϞāĻžāύ āĻ…āĻ¨ā§āϝāϜāύ āϜāĻžāύāĻŦ⧇ āύāĻž āϏāĻŦāĻžāχāϕ⧇ āϏ⧇āχ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ⧇ āĻ…āĻ‚āĻļāĻ—ā§āϰāĻšāĻŖ āĻ•āϰāϤ⧇ āĻšāĻŦ⧇āĨ¤

āϝāĻžāĻ¤ā§āϰāĻžāϰ āĻļ⧁āϰ⧁āϤ⧇ āϤāĻžāϰāĻž āĻœā§€āĻŦāύ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϚāĻžāĻĒ⧇ āϜāĻ°ā§āϜāϰāĻŋāϤ āĻ›āĻŋāϞāĨ¤ āϤāĻŦ⧇ āϧ⧀āϰ⧇ āϧ⧀āϰ⧇ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ­āĻŋāĻ¨ā§āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻĻ⧇āϝāĻŧāĨ¤

  • āϤāĻžāϰāĻž āĻ¸ā§āϕ⧁āĻŦāĻž āĻĄāĻžāχāĻ­āĻŋāĻ‚āϝāĻŧ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ­āϝāĻŧāϕ⧇ āϜāϝāĻŧ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āύ⧀āϰāĻŦ āĻļāĻžāĻ¨ā§āϤāĻŋ āϖ⧁āĻœā§‡ āĻĒāĻžā§ŸāĨ¤
  • āĻŦ⧁āϞ-āϰāĻžāύāĻŋāĻ‚āϝāĻŧ⧇ āĻ…āĻ‚āĻļ āύāĻŋāϝāĻŧ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻā§āρāĻ•āĻŋ āύ⧇āĻ“āϝāĻŧāĻžāϰ āĻŽāϜāĻžāϟāĻž āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰ⧇āĨ¤ āĻŽāϰāĻžāϰ āϭ⧟āϕ⧇ āωāĻĒ⧇āĻ•ā§āώāĻž āĻ•āϰ⧇ āĻœā§€āĻŦāύ āĻŦāĻžāĻ¸ā§āϤ⧇ āϚāĻžā§ŸāĨ¤
  • āĻ¸ā§āĻ•āĻžāχāĻĄāĻžāχāĻ­āĻŋāĻ‚ āĻ•āϰ⧇ āĻļāĻŋāϖ⧇, āĻ•āĻ–āύ⧋ āĻ•āĻ–āύ⧋ āύāĻŋāĻœā§‡āϰ āϏ⧀āĻŽāĻžāĻŦāĻĻā§āϧāϤāĻž āĻ­āĻžāĻ™āĻž āϜāϰ⧁āϰāĻŋāĨ¤ āφāĻ•āĻžāĻļ āĻĨ⧇āϕ⧇ āĻŽāĻžāϟāĻŋāϤ⧇ āĻĒāϰāĻžāϰ āϭ⧟ āϝāĻž āĻŦā§‹āĻāĻžā§Ÿ āĻœā§€āĻŦāύ āϝ⧇āϕ⧋āύ⧋ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇ āϏ⧁āĻ¨ā§āĻĻāϰāĨ¤

āĻāχ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āĻĒā§āϰāϤāĻŋāϟāĻŋ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻœā§€āĻŦāύ⧇ āĻ•āĻŋāϛ⧁ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āϘāĻŸā§‡āĨ¤ āĻ…āĻ°ā§āϜ⧁āύ āĻ•āĻžāĻœā§‡āϰ āĻŦāĻžāχāϰ⧇ āĻœā§€āĻŦāύ⧇āϰ āφāύāĻ¨ā§āĻĻ āϖ⧁āρāĻœā§‡ āĻĒāĻžāϝāĻŧ, āχāĻŽāϰāĻžāύ āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āϏāĻ™ā§āϗ⧇ āϤāĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻĒ⧁āύāϰ⧁āĻĻā§āϧāĻžāϰ āĻ•āϰ⧇, āĻāĻŦāĻ‚ āĻ•āĻŦā§€āϰ āύāĻŋāĻœā§‡āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āύāĻŋāϝāĻŧ⧇ āϏāĻ āĻŋāĻ• āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ āύ⧇āϝāĻŧāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ…āύāĻŦāĻĻā§āϝ āĻ•āĻŦāĻŋāϤāĻžāϗ⧁āϞ⧋, āϝāĻž āĻĢāĻžāϰāĻšāĻžāύ āφāĻ–āϤāĻžāϰ āύāĻŋāĻœā§‡āχ āφāĻŦ⧃āĻ¤ā§āϤāĻŋ āĻ•āϰ⧇āϛ⧇āύ, āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ⧇ āĻ—āĻ­ā§€āϰ āĻĻāĻžāĻ— āĻ•āĻžāĻŸā§‡āĨ¤ “āϜāĻŋāĻ¨ā§āĻĻāĻž āĻšā§‹ āϤ⧁āĻŽ” āĻ•āĻŦāĻŋāϤāĻžāϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻœā§€āĻŦāύāϕ⧇ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋāϤ⧇ āĻĻ⧇āĻ–āĻžāϰ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āĻĻ⧇āϝāĻŧ āφāϰāĻ“ āĻ•āĻŋāϛ⧁ āĻ•āĻŦāĻŋāϤāĻž āφāϛ⧇ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ­āĻžāϞ⧋ āϞ⧇āϗ⧇āϛ⧇āĨ¤


āĻŦāĻžāĻœā§‡āϟ āĻāĻŦāĻ‚ āφāϝāĻŧ

āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻĒā§āϰāϝ⧋āϜāύāĻž āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ āĻĢāĻžāϰāĻšāĻžāύ āφāĻ–āϤāĻžāϰ āĻāĻŦāĻ‚ āϰāĻŋāϤ⧇āĻļ āϏāĻŋāϧāĻ“āϝāĻŧāĻžāύāĻŋāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻŦāĻžāĻœā§‡āϟ āĻ›āĻŋāϞ āφāύ⧁āĻŽāĻžāύāĻŋāĻ• ā§Ģā§Ģ āϕ⧋āϟāĻŋ āϰ⧁āĻĒāĻŋāĨ¤ āϏ⧇āχ āϏāĻŽāϝāĻŧ āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āĻŦāĻžāĻœā§‡āĻŸā§‡āϰ āϏāĻŋāύ⧇āĻŽāĻž āĻšāĻŋāϏ⧇āĻŦ⧇ āĻŦāĻŋāĻŦ⧇āϚāĻŋāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤

āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰāĻĒāϰāχ āϏāĻŽāĻžāϞ⧋āϚāĻ• āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ•āĻžāĻ› āĻĨ⧇āϕ⧇ āĻĻāĻžāϰ⧁āĻŖ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻĒāĻžāϝāĻŧāĨ¤ āĻāϰ āĻ—āĻ˛ā§āĻĒ, āϚāϰāĻŋāĻ¤ā§āϰ, āĻāĻŦāĻ‚ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āϚāĻŽā§ŽāĻ•āĻžāϰ āϞ⧋āϕ⧇āĻļāύ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ āϕ⧇āϰ⧇ āĻ¨ā§‡ā§ŸāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāĻ•ā§āϏ āĻ…āĻĢāĻŋāϏ⧇ āĻŦāĻŋāĻļāĻžāϞ āϏāĻžāĻĢāĻ˛ā§āϝ āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇, āĻāĻŦāĻ‚ āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§€ ā§§ā§Ģā§Š āϕ⧋āϟāĻŋ āϰ⧁āĻĒāĻŋ āφāϝāĻŧ āĻ•āϰ⧇ āĻŦāĻžāĻ‚āϞāĻžāĻĻ⧇āĻļāĻŋ āϟāĻžāĻ•āĻžā§Ÿ ā§Šā§§ā§Ļ āϕ⧋āϟāĻŋāϰ āĻŽāϤāĨ¤

āĻŦāĻŋāĻļ⧇āώāϤ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻŦāĻžāϜāĻžāϰ⧇, āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āϏāĻžāĻĄāĻŧāĻž āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋāϞ āĻāĻ–āύ⧋āĻ“ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻĒāĻžā§ŸāĨ¤ āĻāϟāĻŋ āĻ­āĻžāϰāϤ⧇āϰ āĻŦāĻžāχāϰ⧇ āĻĒā§āϰāĻžāϝāĻŧ ā§Šā§Ļ āϕ⧋āϟāĻŋ āϰ⧁āĻĒāĻŋ āφāϝāĻŧ āĻ•āϰ⧇, āϝāĻž āĻŦāϞāĻŋāωāĻĄ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϜāĻ¨ā§āϝ āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āĻŽāĻžāχāϞāĻĢāϞāĻ• āĻ›āĻŋāϞ ⧍ā§Ļā§§ā§§ āϤ⧇āĨ¤

āϏ⧇āχ āϏāĻŽāϝāĻŧ⧇ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāϞāĻŋāωāĻĄā§‡āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āϏāĻĢāϞ āĻāĻŦāĻ‚ āϞāĻžāĻ­āϜāύāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āϤāĻžāϞāĻŋāĻ•āĻžāϝāĻŧ āĻ…āĻ¨ā§āϤāĻ°ā§āϭ⧁āĻ•ā§āϤ āĻšāϝāĻŧāĨ¤ āĻāϰ āφāϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āϗ⧁āĻŖāĻ—āϤ āĻŽāĻžāύ āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻĒāĻ›āĻ¨ā§āĻĻ⧇āϰ āĻĒā§āϰāĻŽāĻžāĻŖ āĻŦāĻšāύ āĻ•āϰ⧇āĨ¤āĻ…āϤāĻŋāϰāĻŋāĻ•ā§āϤāĻ­āĻžāĻŦ⧇, āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽāĻŋāωāϜāĻŋāĻ• āĻ…ā§āϝāĻžāϞāĻŦāĻžāĻŽ āĻāĻŦāĻ‚ āĻĄāĻŋāϜāĻŋāϟāĻžāϞ āϰāĻžāχāϟāϏ āĻĨ⧇āϕ⧇āĻ“ āĻŦāĻĄāĻŧ āĻ…āĻ™ā§āϕ⧇āϰ āφāϝāĻŧ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āϏāĻ‚āĻ•ā§āώ⧇āĻĒ⧇, “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻ›āĻŋāϞ āĻāĻ•āϟāĻŋ āφāĻ°ā§āĻĨāĻŋāĻ• āĻāĻŦāĻ‚ āϏāĻŽāĻžāϞ⧋āϚāύāĻžāĻŽā§‚āϞāĻ• āĻŦā§āϞāĻ•āĻŦāĻžāĻ¸ā§āϟāĻžāϰāĨ¤


āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ¸ā§āĻŽāϰāĻŖā§€āϝāĻŧ āĻĄāĻžāχāĻ­āĻŋāĻ‚ āĻĻ⧃āĻļā§āϝāĨ¤

āϚāĻŽāĻ•āĻĒā§āϰāĻĻ āϏāĻ‚āĻŦāĻžāĻĻ, āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āύ⧇āϤāĻŋāĻŦāĻžāϚāĻ• āĻŽāϤāĻžāĻŽāϤ āĻāĻŦāĻ‚ āωāĻ¤ā§āϤ⧇āϜāύāĻžāĻĒā§‚āĻ°ā§āĻŖ āĻ–āĻŦāϰ

āϚāĻŽāĻ•āĻĒā§āϰāĻĻ āϏāĻ‚āĻŦāĻžāĻĻ:
“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰāĻĒāϰāχ āĻŦāϞāĻŋāωāĻĄā§‡ āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻŸā§āϰ⧇āĻ¨ā§āĻĄ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻ…āύ⧇āĻ• āĻŽāĻžāύ⧁āώāϕ⧇ āĻ…āύ⧁āĻĒā§āϰāĻžāĻŖāĻŋāϤ āĻ•āϰ⧇ āĻ¸ā§āĻĒ⧇āύ āĻ­ā§āϰāĻŽāĻŖ āĻ•āϰāϤ⧇, āĻāĻŦāĻ‚ āĻāϟāĻŋ āĻ­āĻžāϰāϤ⧀āϝāĻŧ āĻĒāĻ°ā§āϝāϟāύ āĻļāĻŋāĻ˛ā§āĻĒ⧇ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āφāĻ•āĻ°ā§āώāĻŖā§€āϝāĻŧ āĻ—āĻ¨ā§āϤāĻŦā§āϝ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ—ā§œā§‡ āĻ“āϠ⧇āĨ¤ āĻāĻŽāύāĻ•āĻŋ āĻ¸ā§āĻĒ⧇āύ āϏāϰāĻ•āĻžāϰ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϜāĻ¨ā§āϝ āϜāϝāĻŧāĻž āφāĻ–āϤāĻžāϰ āĻāĻŦāĻ‚ āϟāĻŋāĻŽāϕ⧇ āϧāĻ¨ā§āϝāĻŦāĻžāĻĻ āϜāĻžāύāĻžāϝāĻŧ āϤāĻžāĻĻ⧇āϰ āϜāύāϏāĻžāϧāĻžāϰāĻŖāϕ⧇ āĻāχ āϏāĻŋāύ⧇āĻŽāĻž āĻĻ⧇āĻ–āϤ⧇ āĻ‰ā§ŽāϏāĻžāĻš āĻĻā§‡ā§ŸāĨ¤

āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āύ⧇āϤāĻŋāĻŦāĻžāϚāĻ• āĻŽāϤāĻžāĻŽāϤ:
āϝāĻĻāĻŋāĻ“ āĻŦ⧇āĻļāĻŋāϰāĻ­āĻžāĻ— āϏāĻŽāĻžāϞ⧋āϚāĻ• āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ, āϤāĻŦ⧇ āĻ•āĻŋāϛ⧁ āϏāĻŽāĻžāϞ⧋āϚāĻ• āĻāϰ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϧ⧀āϰ āĻ—āϤāĻŋ āύāĻŋāϝāĻŧ⧇ āύ⧇āϤāĻŋāĻŦāĻžāϚāĻ• āĻŽāĻ¨ā§āϤāĻŦā§āϝ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύāĨ¤ āϤāĻžāĻĻ⧇āϰ āĻŽāϤ⧇, āĻĒā§āϰāĻĨāĻŽāĻžāĻ°ā§āϧāϟāĻŋ āϤ⧁āϞāύāĻžāĻŽā§‚āϞāĻ•āĻ­āĻžāĻŦ⧇ āĻŦ⧇āĻļāĻŋ āϏāĻŽāϝāĻŧ āϧāϰ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻžāĻ“, āĻ•āĻŋāϛ⧁ āĻĻāĻ°ā§āĻļāĻ• āĻŽāύ⧇ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ, āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āωāĻšā§āϚāĻŦāĻŋāĻ¤ā§āϤ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋāĻĢāϞāύ āĻ•āϰ⧇āϛ⧇ āĻāĻŦāĻ‚ āϏāĻžāϧāĻžāϰāĻŖ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻœā§€āĻŦāύāϝāĻžāĻĒāύ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰāϤ⧇ āĻŦā§āϝāĻ°ā§āĻĨ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āωāĻ¤ā§āϤ⧇āϜāύāĻžāĻĒā§‚āĻ°ā§āĻŖ āĻ–āĻŦāϰ:
āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧁āϟāĻŋāĻ‚āϝāĻŧ⧇āϰ āϏāĻŽāϝāĻŧ āĻšā§ƒāĻ¤ā§āĻŦāĻŋāĻ• āϰ⧋āĻļāύ āĻāĻŦāĻ‚ āĻ•ā§āϝāĻžāϟāϰāĻŋāύāĻž āĻ•āĻžāχāĻĢ⧇āϰ āĻ¸ā§āĻ•āĻžāχāĻĄāĻžāχāĻ­āĻŋāĻ‚ āĻĻ⧃āĻļā§āϝ āĻ›āĻŋāϞ āφāϏāϞ āĻāĻŦāĻ‚ āϕ⧋āύāĻ“ āĻ¸ā§āϟāĻžāĻ¨ā§āϟ āĻĄāĻžāĻŦāϞ āĻŦā§āϝāĻŦāĻšāĻžāϰ āĻ•āϰāĻž āĻšāϝāĻŧāύāĻŋāĨ¤ āĻāϟāĻŋ āĻšā§ƒāĻ¤ā§āĻŦāĻŋāĻ• āĻāĻŦāĻ‚ āĻ•ā§āϝāĻžāϟāϰāĻŋāύāĻžāϰ āĻ­āĻ•ā§āϤāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻĄāĻŧ āϚāĻŽāĻ• āĻ›āĻŋāϞāĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻž, “āϏ⧇āύāϰāĻŋāϤāĻž” āĻ—āĻžāύ⧇āϰ āĻĻ⧃āĻļā§āϝ, āϝ⧇āĻ–āĻžāύ⧇ āϤāĻŋāύ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ āύāĻŋāĻœā§‡āϰāĻžāχ āύ⧇āĻšā§‡āϛ⧇āύ, āϤāĻž āĻŦāĻŋāĻļ⧇āώāĻ­āĻžāĻŦ⧇ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ­āĻžāϞ⧋ āϞ⧇āϗ⧇āĻ›āĻŋāϞāĨ¤ āĻļ⧇āώ⧇ āĻŦ⧁āϞ āϰ⧇āϏ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§‚āĻ°ā§āĻŖāϤāĻž āĻĻā§‡ā§ŸāĨ¤

āϏāĻŦāĻŽāĻŋāϞāĻŋāϝāĻŧ⧇, āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϏāĻŽāĻžāϞ⧋āϚāύāĻž āĻāĻŦāĻ‚ āĻĒā§āϰāĻļāĻ‚āϏāĻžāϰ āĻŽāĻŋāĻļā§āϰāĻŖ āύāĻŋāϝāĻŧ⧇ āĻĻāĻžāϰ⧁āĻŖ āφāϞ⧋āĻĄāĻŧāύ āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞāĨ¤


āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻĒā§āϰāĻžāĻĒā§āϤ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻ“ āϏāĻŽā§āĻŽāĻžāύāύāĻž āϗ⧁āϞ⧋

“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻ…āϏāĻ‚āĻ–ā§āϝ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻ“ āϏāĻŽā§āĻŽāĻžāύ āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇āϛ⧇āĨ¤ āύāĻŋāĻšā§‡ āĻāϰ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰāϗ⧁āϞ⧋āϰ āϤāĻžāϞāĻŋāĻ•āĻž āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϞ⧋:

āĻĢāĻŋāĻ˛ā§āĻŽāĻĢ⧇āϝāĻŧāĻžāϰ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ (2012):
  • āϏ⧇āϰāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ (Best Film): āϜāϝāĻŧāĻž āφāĻ–āϤāĻžāϰ⧇āϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāĻ›āϰ⧇āϰ āϏ⧇āϰāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒ⧁āϰāĻ¸ā§āĻ•ā§ƒāϤ āĻšāϝāĻŧāĨ¤
  • āϏ⧇āϰāĻž āĻĒāϰāĻŋāϚāĻžāϞāĻ• (Best Director): āϜāϝāĻŧāĻž āφāĻ–āϤāĻžāϰ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰāϟāĻŋ āϜāĻŋāϤ⧇ āύ⧇āύ āϤāĻžāϰ āĻ…āύāĻŦāĻĻā§āϝ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϰ āϜāĻ¨ā§āϝāĨ¤
  • āϏ⧇āϰāĻž āϏāĻ‚āϞāĻžāĻĒ (Best Dialogue): āĻĢāĻžāϰāĻšāĻžāύ āφāĻ–āϤāĻžāϰ⧇āϰ āĻ•āĻžāĻŦā§āϝāĻŋāĻ• āϏāĻ‚āϞāĻžāĻĒ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ āϛ⧁āρāϝāĻŧ⧇āĻ›āĻŋāϞ āĻāĻŦāĻ‚ āĻāϰ āϜāĻ¨ā§āϝ āϤāĻŋāύāĻŋ āĻĒ⧁āϰāĻ¸ā§āĻ•ā§ƒāϤ āĻšāύāĨ¤
  • āϏ⧇āϰāĻž āϏāĻš-āĻ…āĻ­āĻŋāύ⧇āϤāĻž (Best Supporting Actor): āĻĢāĻžāϰāĻšāĻžāύ āφāĻ–āϤāĻžāϰ āϤāĻžāϰ āĻĻ⧁āĻ°ā§āĻĻāĻžāĻ¨ā§āϤ āĻ…āĻ­āĻŋāύāϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻĒāĻžāύāĨ¤
  • āϏ⧇āϰāĻž āϕ⧋āϰāĻŋāĻ“āĻ—ā§āϰāĻžāĻĢāĻŋ (Best Choreography): “āϏ⧇āύāϰāĻŋāϤāĻž” āĻ—āĻžāύ⧇āϰ āϕ⧋āϰāĻŋāĻ“āĻ—ā§āϰāĻžāĻĢāĻŋāϰ āϜāĻ¨ā§āϝ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰāϟāĻŋ āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰāĻž āĻšāϝāĻŧāĨ¤
āϜāĻžāϤ⧀āϝāĻŧ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ (National Film Awards):
  • āϏ⧇āϰāĻž āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ (Best Popular Film Providing Wholesome Entertainment): āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰāϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āĻŦāĻŋāύ⧋āĻĻāύāĻŽā§‚āϞāĻ• āĻĻāĻŋāĻ•āϗ⧁āϞ⧋āϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰāĻž āĻšāϝāĻŧāĨ¤
āĻŦāĻ¨ā§āϧ⧁āϰāĻž "āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž"-āϤ⧇ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āĨ¤
āφāχāĻĢāĻž āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ (IIFA Awards):
  • āϏ⧇āϰāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ (Best Film): “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āφāχāĻĢāĻž āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄā§‡āĻ“ āĻŦāĻ›āϰ⧇āϰ āϏ⧇āϰāĻž āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻ¸ā§āĻŦā§€āĻ•ā§ƒāϤāĻŋ āĻĒāĻžāϝāĻŧāĨ¤
  • āϏ⧇āϰāĻž āĻ—āĻ˛ā§āĻĒ (Best Story): āϰ⧀āĻŽāĻž āĻ•āĻžāĻ—āϤāĻŋ āĻāĻŦāĻ‚ āϜāϝāĻŧāĻž āφāĻ–āϤāĻžāϰ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻĒāĻžāύāĨ¤
  • āϏ⧇āϰāĻž āϏāĻŋāύ⧇āĻŽāĻžāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ (Best Cinematography): āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻŽāύ⧋āϰāĻŽ āĻĻ⧃āĻļā§āϝāϧāĻžāϰāϪ⧇āϰ āϜāĻ¨ā§āϝ āĻ•āĻžāĻ°ā§āϞ⧋āϏ āĻ•āĻžāϤāĻžāϞāĻžāύ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻĒāĻžāύāĨ¤
āĻ¸ā§āϟāĻžāϰāĻĄāĻžāĻ¸ā§āϟ āĻ…ā§āϝāĻžāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ (Stardust Awards):
  • āĻ¸ā§āϟāĻžāϰ āĻ…āĻĢ āĻĻā§āϝ āχāϝāĻŧāĻžāϰ – āĻŽā§‡āχāϞ (Star of the Year – Male): āĻšā§ƒāĻ¤ā§āĻŦāĻŋāĻ• āϰ⧋āĻļāύ āϤāĻžāϰ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻĒāĻžāϰāĻĢāϰāĻŽā§āϝāĻžāĻ¨ā§āϏ⧇āϰ āϜāĻ¨ā§āϝ āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇āύāĨ¤
āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻ¸ā§āĻŦā§€āĻ•ā§ƒāϤāĻŋ:
  • āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻĒāĻ°ā§āϝāϟāύ āĻŽāĻ¨ā§āĻ¤ā§āϰāĻžāϞāϝāĻŧ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āϟāĻŋāĻŽāϕ⧇ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āϏāĻŽā§āĻŽāĻžāύ āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰ⧇, āĻ•āĻžāϰāĻŖ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻĒāĻ°ā§āϝāϟāύ āĻļāĻŋāĻ˛ā§āĻĒ⧇ āĻŦāĻĄāĻŧ āĻĒā§āϰāĻ­āĻžāĻŦ āĻĢ⧇āϞ⧇āĨ¤

āĻāχ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻ“ āϏāĻŽā§āĻŽāĻžāύ āĻĒā§āϰāĻŽāĻžāĻŖ āĻ•āϰ⧇, “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž āύāϝāĻŧ; āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ•āĻžāϞāϜāϝāĻŧā§€ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž, āϝāĻž āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻšā§ƒāĻĻāϝāĻŧ⧇ āĻ—āĻ­ā§€āϰ āĻ›āĻžāĻĒ āĻĢ⧇āϞ⧇āĨ¤


“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻāĻŦāĻ‚ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻ‚āϝ⧋āĻ— āĻŦāĻž āϏāĻžāĻĻ⧃āĻļā§āϝ

“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻāĻŽāύ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž, āϝāĻž āĻāĻ•āĻžāϧāĻŋāĻ• āĻ•ā§āϞāĻžāϏāĻŋāĻ• āĻāĻŦāĻ‚ āφāϧ⧁āύāĻŋāĻ• āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻ™ā§āϗ⧇ āĻŽāĻŋāϞ āϰ⧇āϖ⧇ āϤ⧈āϰāĻŋāĨ¤ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻœā§€āĻŦāύāĻŦā§‹āϧ, āĻāĻŦāĻ‚ āύāĻŋāĻœā§‡āϕ⧇ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ⧇āϰ āĻŽāϤ⧋ āĻŦāĻŋāώāϝāĻŧāϗ⧁āϞ⧋ āĻ…āύ⧇āĻ• āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ⧇ āĻ…āύ⧁āϰāĻŖāĻŋāϤ āĻšāϝāĻŧāĨ¤ āύāĻŋāĻšā§‡ āĻ•āĻŋāϛ⧁ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āϏāĻ‚āϝ⧋āĻ— āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϞ⧋:

“āĻĻāĻŋāϞ āϚāĻžāĻšāϤāĻž āĻšā§āϝāĻžāϝāĻŧ” (⧍ā§Ļā§Ļā§§):
  • āϏāĻžāĻĻ⧃āĻļā§āϝ:
    “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻ…āύ⧇āϕ⧇āχ “āĻĻāĻŋāϞ āϚāĻžāĻšāϤāĻž āĻšā§āϝāĻžāϝāĻŧ” āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āωāĻ¤ā§āϤāϰāϏ⧂āϰāĻŋ āĻŽāύ⧇ āĻ•āϰ⧇āύāĨ¤ āĻĻ⧁āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϤ⧇āχ āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁āϰ āĻ—āĻ˛ā§āĻĒ āĻāĻŦāĻ‚ āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āύāĻŋāϝāĻŧ⧇ āφāϞ⧋āĻ•āĻĒāĻžāϤ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤
  • āĻŽā§‚āϞ āĻŽāĻŋāϞ:
    • āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āϜāĻžāĻĻ⧁ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧāĨ¤
    • āĻĻ⧁’āϜāύ āϏāĻŋāύ⧇āĻŽāĻžāχ āφāϧ⧁āύāĻŋāĻ• āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞāϤāĻžāϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤
    • āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻœā§€āĻŦāύ⧇āϰ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāĨ¤
“āχāϝāĻŧ⧇ āϜāĻ“āϝāĻŧāĻžāύāĻŋ āĻšā§āϝāĻžāϝāĻŧ āĻĻāĻŋāĻ“āϝāĻŧāĻžāύāĻŋ” (⧍ā§Ļā§§ā§Š):
  • āϏāĻžāĻĻ⧃āĻļā§āϝ:
    “āχāϝāĻŧ⧇ āϜāĻ“āϝāĻŧāĻžāύāĻŋ āĻšā§āϝāĻžāϝāĻŧ āĻĻāĻŋāĻ“āϝāĻŧāĻžāύāĻŋ” āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž”-āĻāϰ āĻŽāϤ⧋āχ āĻ­ā§āϰāĻŽāĻŖ āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻŽāĻžāύ⧇ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞ⧇āĨ¤
  • āĻŽā§‚āϞ āĻŽāĻŋāϞ:
    • āĻœā§€āĻŦāύ⧇āϰ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞ⧋āϕ⧇ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāϰ āωāĻĒāϰ āĻœā§‹āϰāĨ¤
    • āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĨ¤
    • āĻ¸ā§āĻŦāĻĒā§āύ āĻĒā§‚āϰāϪ⧇āϰ āϜāĻ¨ā§āϝ āύāĻŋāĻœā§‡āϰ āĻ­āϝāĻŧāϕ⧇ āϜāϝāĻŧ āĻ•āϰāĻžāϰ āĻŦāĻžāĻ°ā§āϤāĻžāĨ¤
“āĻĻā§āϝ āĻŦāϕ⧇āϟ āϞāĻŋāĻ¸ā§āϟ” (⧍ā§Ļā§Ļā§­):
  • āϏāĻžāĻĻ⧃āĻļā§āϝ:
    āĻšāϞāĻŋāωāĻĄā§‡āϰ āĻāχ āĻ•ā§āϞāĻžāϏāĻŋāĻ• āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϤ⧇ āĻĻ⧁āχ āĻŦā§āϝāĻ•ā§āϤāĻŋ āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻļ⧇āώ āϏāĻŽāϝāĻŧ⧇ āĻāĻ•āϟāĻŋ āĻŦāϕ⧇āϟ āϞāĻŋāĻ¸ā§āϟ āĻĒā§‚āϰāĻŖ āĻ•āϰāĻžāϰ āϏāĻŋāĻĻā§āϧāĻžāĻ¨ā§āϤ āύ⧇āϝāĻŧāĨ¤ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž”-āĻāϰ āĻŽāϤ⧋āχ āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āχāϤāĻŋāĻŦāĻžāϚāĻ• āĻŽāύ⧋āĻ­āĻžāĻŦ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĨ¤
  • āĻŽā§‚āϞ āĻŽāĻŋāϞ:
    • āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĨ¤
    • āĻœā§€āĻŦāύ⧇āϰ āϏ⧀āĻŽāĻžāĻŦāĻĻā§āϧāϤāĻžāϕ⧇ āĻ…āϤāĻŋāĻ•ā§āϰāĻŽ āĻ•āϰāĻžāϰ āĻŦāĻžāĻ°ā§āϤāĻžāĨ¤
    • āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āύāĻŋāĻœā§‡āϰ āϭ⧇āϤāϰ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύāĨ¤
“ā§Š āχāĻĄāĻŋāϝāĻŧāϟāϏ” (⧍ā§Ļā§Ļ⧝):
  • āϏāĻžāĻĻ⧃āĻļā§āϝ:
    “ā§Š āχāĻĄāĻŋāϝāĻŧāϟāϏ” āĻāĻŦāĻ‚ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻĻ⧁āĻŸā§‹ āϏāĻŋāύ⧇āĻŽāĻžāχ āĻœā§€āĻŦāύ āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ⧇āϰ āωāĻĒāϰ āφāϞ⧋āĻ•āĻĒāĻžāϤ āĻ•āϰ⧇āĨ¤
  • āĻŽā§‚āϞ āĻŽāĻŋāϞ:
    • āύāĻŋāĻœā§‡āϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻĒā§‚āϰāϪ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻžāĻšāϏ⧀ āĻĒāĻĻāĻ•ā§āώ⧇āĻĒ āύ⧇āĻ“āϝāĻŧāĻžāĨ¤
    • āĻœā§€āĻŦāύ⧇āϰ āϚāĻžāĻĒ⧇ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āύāĻž āϝāĻžāĻ“āϝāĻŧāĻžāϰ āĻŦāĻžāĻ°ā§āϤāĻžāĨ¤
    • āĻŽāϜāĻžāϰ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇āϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻ—āĻ­ā§€āϰ āĻœā§€āĻŦāύāĻŦā§‹āϧāĨ¤
"Zindagi Na Milegi Dobara" āϏāĻŋāύ⧇āĻŽāĻž āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻŽāϧ⧁āϰāϤāĻž āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāĻžāϝāĻŧāĨ¤

āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ āϏāĻŋāύ⧇āĻŽāĻž āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻļāĻŋāĻ•ā§āώāĻž:

“āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āĻŦāϞāĻŋāωāĻĄ āĻ•ā§āϞāĻžāϏāĻŋāĻ• āύāϝāĻŧ, āĻāϟāĻŋ āĻāĻŽāύ āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž āϝāĻž āĻœā§€āĻŦāύ⧇āϰ āĻ…āĻ°ā§āĻĨ āĻāĻŦāĻ‚ āύāϤ⧁āύ āĻ•āϰ⧇ āĻœā§€āĻŦāύ āĻļ⧁āϰ⧁ āĻ•āϰāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞ⧇āĨ¤ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻœā§€āĻŦāύ⧇āϰ āύāϤ⧁āύ āĻ…āĻ§ā§āϝāĻžāϝāĻŧ āĻļ⧁āϰ⧁ āĻ•āϰāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻžāϰ āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻāϰ āϏāĻ™ā§āϗ⧇ āĻ•āĻŋāϛ⧁ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āϏāĻŋāύ⧇āĻŽāĻž āĻāĻŦāĻ‚ āĻĄā§āϰāĻžāĻŽāĻžāϰ āϏāĻžāĻĻ⧃āĻļā§āϝ āϰāϝāĻŧ⧇āϛ⧇āĨ¤ āύāĻŋāĻšā§‡ āωāĻ˛ā§āϞ⧇āĻ–āϝ⧋āĻ—ā§āϝ āĻĻ⧁’āϟāĻŋ āĻ•āĻžāĻœā§‡āϰ āĻŦāĻŋāĻļāĻĻ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϞ⧋:

“āϞāĻŋāϟāϞ āĻŽāĻŋāϏ āϏāĻžāύāĻļāĻžāχāύ” (⧍ā§Ļā§Ļā§Ŧ)

āĻĒāϰāĻŋāϚāĻžāϞāύāĻž: āĻœā§‹āύāĻžāĻĨāύ āĻĄā§‡āϟāύ āĻāĻŦāĻ‚ āĻ­ā§āϝāĻžāϞ⧇āϰāĻŋ āĻĢāĻžāϰāĻŋāϏ
āĻ…āĻ­āĻŋāύ⧇āϤāĻž: āĻ¸ā§āϟāĻŋāĻ­ āĻ•ā§āϝāĻžāϰ⧇āϞ, āϟāύāĻŋ āϕ⧋āϞ⧇āϟ, āĻĒāϞ āĻĄā§āϝāĻžāύ⧋, āφāĻŦāĻŋāϗ⧇āχāϞ āĻŦā§āϰ⧇āϏāϞāĻŋāύ

“āϞāĻŋāϟāϞ āĻŽāĻŋāϏ āϏāĻžāύāĻļāĻžāχāύ” āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ—ā§āϰāĻžāĻšā§€ āĻāĻŦāĻ‚ āĻšāĻžāĻ¸ā§āϝāϰāϏāĻžāĻ¤ā§āĻŽāĻ• āφāĻŽā§‡āϰāĻŋāĻ•āĻžāύ āĻĢāĻŋāĻ˛ā§āĻŽāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻ—āĻ˛ā§āĻĒ āĻāĻ•āϟāĻŋ āĻ…āϏāĻ‚āĻ—āĻ āĻŋāϤ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āϚāĻžāϰāĻĒāĻžāĻļ⧇ āφāĻŦāĻ°ā§āϤāĻŋāϤāĨ¤ āϛ⧋āĻŸā§āϟ āĻŽā§‡āϝāĻŧ⧇ āĻ…āϞāĻŋāĻ­ āĻāĻ•āϟāĻŋ āĻŦāĻŋāωāϟāĻŋ āĻ•āύāĻŸā§‡āĻ¸ā§āĻŸā§‡ āĻ…āĻ‚āĻļ āύāĻŋāϤ⧇ āϚāĻžāϝāĻŧāĨ¤ āĻĒ⧁āϰ⧋ āĻĒāϰāĻŋāĻŦāĻžāϰ āĻāĻ•āϟāĻŋ āĻ­āĻžāĻ™āĻž āĻŽāĻžāχāĻ•ā§āϰ⧋āĻŦāĻžāϏ⧇ āĻšā§‡āĻĒ⧇ āĻ•ā§āϝāĻžāϞāĻŋāĻĢā§‹āĻ°ā§āύāĻŋāϝāĻŧāĻžāϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ⧇ āϝāĻžāĻ¤ā§āϰāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧇āĨ¤

āϏāĻžāĻĻ⧃āĻļā§āϝ:

  • āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϝ⧇āĻŽāύ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž”-āĻāϰ āĻŽāϤ⧋āχ āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻĒā§āϰāĻ¤ā§āϝ⧇āĻ• āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻœā§€āĻŦāύ⧇ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āφāύ⧇āĨ¤
  • āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āĻŦāĻ¨ā§āϧāύ⧇āϰ āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧāĨ¤
  • āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤ āĻœā§€āĻŦāύ⧇āϰ āύāϤ⧁āύ āĻĒāĻžāĻ  āĻļ⧇āĻ–āĻžāϝāĻŧāĨ¤

āĻŦāĻŋāĻļ⧇āώ āĻĻāĻŋāĻ•:

  • āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āϏāĻŽāĻ¸ā§āϝāĻžāϗ⧁āϞ⧋āϰ āĻŽāĻžāĻā§‡ āφāύāĻ¨ā§āĻĻ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āĻĻ⧇āϝāĻŧāĨ¤
  • āĻāϟāĻŋ āĻļāĻŋāĻ–āĻžāϝāĻŧ, āĻœā§€āĻŦāύ āύāĻŋāϖ⧁āρāϤ āύāĻž āĻšāϞ⧇āĻ“, āϏ⧇āϟāĻŋāϕ⧇ āĻ—ā§āϰāĻšāĻŖ āĻ•āϰāĻž āĻāĻŦāĻ‚ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāχ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖāĨ¤
“āχāĻŸā§‹āϝāĻŧāĻžāύ āĻ•ā§āϞāĻžāϏ” (āĻĻāĻ•ā§āώāĻŋāĻŖ āϕ⧋āϰāĻŋāϝāĻŧāĻžāύ āĻĄā§āϰāĻžāĻŽāĻž)

āĻĒāϰāĻŋāϚāĻžāϞāύāĻž: āĻ•āĻŋāĻŽ āϏ⧇āĻ“āĻ‚-āχāωāύ
āĻ…āĻ­āĻŋāύ⧇āϤāĻž: āĻĒāĻžāĻ°ā§āĻ• āϏ⧋-āϜ⧁āύ, āĻ•āĻŋāĻŽ āĻĻāĻž-āĻŽāĻŋ, āχāω āĻœā§‡-āĻŽāĻŋāϝāĻŧāĻ‚

“āχāĻŸā§‹āϝāĻŧāĻžāύ āĻ•ā§āϞāĻžāϏ” āĻāĻ•āϟāĻŋ āϕ⧋āϰāĻŋāϝāĻŧāĻžāύ āĻĄā§āϰāĻžāĻŽāĻž, āϝāĻž āϕ⧋āϰāĻŋāϝāĻŧāĻžāϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āχāĻŸā§‹āϝāĻŧāĻžāύ āĻœā§‡āϞāĻžāϰ āĻĒāϟāĻ­ā§‚āĻŽāĻŋāϤ⧇ āύāĻŋāĻ°ā§āĻŽāĻŋāϤāĨ¤ āĻāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻ—āĻ˛ā§āĻĒ āύāϝāĻŧ, āĻŦāϰāĻ‚ āĻāĻ•āϜāύ āϝ⧁āĻŦāϕ⧇āϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻāĻŦāĻ‚ āĻĒā§āϰāϤāĻŋāĻļā§‹āϧ⧇āϰ āϝāĻžāĻ¤ā§āϰāĻžāϰ āĻ—āĻ˛ā§āĻĒāĨ¤ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧇ āϰāϝāĻŧ⧇āϛ⧇ āĻĒāĻžāĻ°ā§āĻ• āϏāĻŋ-āϰ⧋āχ, āϝ⧇ āϤāĻžāϰ āĻŦāĻžāĻŦāĻžāϰ āĻŽā§ƒāĻ¤ā§āϝ⧁ āĻāĻŦāĻ‚ āύāĻŋāĻœā§‡āϰ āĻ…āĻ¨ā§āϝāĻžāϝāĻŧ āϏāĻžāϜāĻžāϰ āĻĒā§āϰāϤāĻŋāĻļā§‹āϧ āύāĻŋāϤ⧇ āϚāĻžāϝāĻŧāĨ¤

āϏāĻžāĻĻ⧃āĻļā§āϝ:

  • āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋ āĻŽā§‹āĻ•āĻžāĻŦāĻŋāϞāĻž āĻ•āϰ⧇ āϤāĻžāĻĻ⧇āϰ āĻ¸ā§āĻŦāĻĒā§āύ āĻĒā§‚āϰāϪ⧇āϰ āĻĒāĻĨ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧāĨ¤
  • āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻĻāϞāĻŦāĻĻā§āϧāϤāĻž āĻāĻŦāĻ‚ āύāĻŋāĻœā§‡āϕ⧇ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤
  • āĻĒā§āϰāϤāĻŋāϕ⧂āϞ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋāϤ⧇ āĻœā§€āĻŦāύ⧇āϰ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāĨ¤

āĻŦāĻŋāĻļ⧇āώ āĻĻāĻŋāĻ•:

  • āĻāχ āĻ—āĻ˛ā§āĻĒāϟāĻŋ āĻļ⧁āϧ⧁ āĻ­ā§āϰāĻŽāϪ⧇āϰ āύāϝāĻŧ, āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻžāϰ āϏāĻ™ā§āϗ⧇ āϞāĻĄāĻŧāĻžāχ āĻ•āϰāĻžāϰ āĻāĻ• āĻ…āύāĻ¨ā§āϝ āωāĻĻāĻžāĻšāϰāĻŖāĨ¤
  • āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻŦāĻĄāĻŧ āĻļāĻŋāĻ•ā§āώāĻž āĻĻ⧇āϝāĻŧ: āĻ¸ā§āĻŦāĻĒā§āύ āĻāĻŦāĻ‚ āϞāĻĄāĻŧāĻžāχ āĻ•āĻ–āύ⧋āχ āĻĨāĻžāĻŽāĻžāύ⧋ āωāϚāĻŋāϤ āύāϝāĻŧāĨ¤

“Pogumidam Vegu Thooramillai” (āϤāĻžāĻŽāĻŋāϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ, ⧍ā§Ļ⧍ā§Ē)

āĻĒāϰāĻŋāϚāĻžāϞāύāĻž: āĻŽāĻžāχāϕ⧇āϞ āϕ⧇ āϰāĻžāϜāĻž
āϞ⧇āĻ–āĻ•: āĻŽāĻžāχāϕ⧇āϞ āϕ⧇ āϰāĻžāϜāĻž
āĻ…āĻ­āĻŋāύ⧇āϤāĻž: āĻŦāĻŋāĻŽāϞ, āĻ•āϰ⧁āĻŖāĻžāϏ, āĻŽā§‡āϰāĻŋ āϰāĻŋāϕ⧇āϟāϏ

“Pogumidam Vegu Thooramillai” āĻŽāĻžāχāϕ⧇āϞ āϕ⧇ āϰāĻžāϜāĻžāϰ āĻĒāϰāĻŋāϚāĻžāϞāĻŋāϤ āĻāĻ•āϟāĻŋ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻžāĻŽā§‚āϞāĻ• āϤāĻžāĻŽāĻŋāϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ, āϝāĻž āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ­ā§€āϰ āĻ…āĻ°ā§āĻĨ āĻāĻŦāĻ‚ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āύāĻŋāϝāĻŧ⧇ āĻ•āĻžāϜ āĻ•āϰ⧇āĨ¤ āĻ—āĻ˛ā§āĻĒ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻšā§āϝāĻžāϞ⧇āĻžā§āϜāϗ⧁āϞ⧋āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϚāϰāĻŋāĻ¤ā§āϰāĻĻ⧇āϰ āφāĻ¤ā§āĻŽ-āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ⧇āϰ āĻāĻ•āϟāĻŋ āϝāĻžāĻ¤ā§āϰāĻž āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ āĻĒā§‹āĻ¸ā§āϟāĻžāϰ - āϤāĻžāĻŽāĻŋāϞ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ
āĻŽāĻžāύāĻŦāĻŋāĻ• āφāĻŦ⧇āϗ⧇ āĻ­āϰāĻž āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽā§‡āϰ āĻ—āĻ˛ā§āĻĒāĨ¤

āϏāĻžāĻĻ⧃āĻļā§āϝ:

  • “Zindagi Na Milegi Dobara” āĻāĻŦāĻ‚ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻ…āĻ°ā§āϜāύ⧇āϰ āĻŦāĻŋāώāϝāĻŧ⧇ āĻŦāĻŋāĻļ⧇āώ āĻœā§‹āϰ āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ⧇āϛ⧇ āϝāĻž āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϕ⧇ āϏ⧇āϰāĻž āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āĨ¤
  • āĻ­ā§āϰāĻŽāĻŖ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻŦāĻĄāĻŧ āĻļāĻŋāĻ•ā§āώāĻž āωāĻ­āϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϕ⧇āĻ¨ā§āĻĻā§āϰ⧀āϝāĻŧ āĻĨāĻŋāĻŽāĨ¤
  • āĻĒā§āϰāϤāĻŋāϕ⧂āϞ āĻĒāϰāĻŋāĻ¸ā§āĻĨāĻŋāϤāĻŋ āĻĨ⧇āϕ⧇ āφāĻ¤ā§āĻŽ-āωāĻ¨ā§āύāϝāĻŧāύ⧇āϰ āϝāĻžāĻ¤ā§āϰāĻž āĻāĻ–āĻžāύ⧇ āϏāĻžāϧāĻžāϰāĻŖāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āĻŦāĻŋāĻļ⧇āώ āĻĻāĻŋāĻ•:

  • “Pogumidam Vegu Thooramillai” āĻāĻ•āϟāĻŋ āĻ­āĻŋāĻ¨ā§āύ āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāϰ āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāĻŸā§‡ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ, āϝāĻž āĻāϟāĻŋāϕ⧇ āφāϞāĻžāĻĻāĻž āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻĻ⧇āϝāĻŧāĨ¤
  • āĻāϟāĻŋ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ⧇āϰ āĻĒāĻžāĻļāĻžāĻĒāĻžāĻļāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž āĻŽā§‹āĻ•āĻžāĻŦāĻŋāϞāĻžāϰ āĻ—āĻ˛ā§āĻĒāĨ¤

āĻŦāĻŋāĻļ⧇āώ āϞāĻŋāĻ™ā§āĻ•:
āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āφāϰāĻ“ āϜāĻžāύāϤ⧇, āĻāχ āϞāĻŋāĻ™ā§āϕ⧇ āĻ•ā§āϞāĻŋāĻ• āĻ•āϰ⧁āύāĨ¤


“Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻžāϰāĻŖ āϰ⧇āϟāĻŋāĻ‚ āĻāĻŦāĻ‚ āφāĻŽāĻžāϰ āϰ⧇āϟāĻŋāĻ‚

IMDb: ā§Ž.⧍/ā§§ā§Ļ
IMDb āĻšāϞ āĻŦāĻŋāĻļā§āĻŦ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻĒā§āϰāĻžāĻŽāĻžāĻŖāĻŋāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϰ⧇āϟāĻŋāĻ‚ āϏāĻžāχāϟ, āϝ⧇āĻ–āĻžāύ⧇ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” ā§Ž.⧍/ā§§ā§Ļ āĻĒ⧇āϝāĻŧ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž, āĻ…āĻ­āĻŋāύāϝāĻŧ āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ“āĻĒāϰ āĻĒā§āϰāĻ­āĻžāĻŦ⧇āϰ āϜāĻ¨ā§āϝ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

Rotten Tomatoes: ā§Žā§Ŧ% (āĻ…āĻĄāĻŋāϝāĻŧ⧇āĻ¨ā§āϏ āĻ¸ā§āϕ⧋āϰ)
Rotten Tomatoes-āĻ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĻāĻ°ā§āĻļāĻ• āϰ⧇āϟāĻŋāĻ‚ ā§Žā§Ŧ%āĨ¤ āĻāϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻšāĻžāĻ¸ā§āϝāϰāϏ, āĻĄā§āϰāĻžāĻŽāĻž āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻļāĻŋāĻ•ā§āώāĻžāĻŽā§‚āϞāĻ• āωāĻĒāĻžāĻĻāĻžāύ⧇āϰ āϜāĻ¨ā§āϝ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦā§āϝāĻžāĻĒāĻ• āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻĒ⧇āϝāĻŧ⧇āϛ⧇āĨ¤

Bollywood Hungama: ā§Ē/ā§Ģ
Bollywood Hungama, āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϜāĻ—āϤ⧇āϰ āĻāĻ•āϟāĻŋ āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āϏāĻžāχāϟ, “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž”-āϕ⧇ ā§Ē/ā§Ģ āĻ¸ā§āϟāĻžāϰ āϰ⧇āϟāĻŋāĻ‚ āĻĻāĻŋāϝāĻŧ⧇āϛ⧇āĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āϏ⧁āĻ¨ā§āĻĻāϰ āĻĻ⧃āĻļā§āϝāĻžāϝāĻŧāύ, āĻœā§€āĻŦāύ⧇āϰ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻāĻŦāĻ‚ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻ…āĻ­āĻŋāύāϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āĻāϟāĻŋ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻ•āĻŽā§‡āĻ¨ā§āĻŸā§‡ āϤ⧋āĻŽāĻžāĻĻ⧇āϰ āϰ⧇āϟāĻŋāĻ‚ āϜāĻžāύāĻžāĻ“…

āφāĻŽāĻžāϰ āϰ⧇āϟāĻŋāĻ‚:

āφāĻŽāĻŋ “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϕ⧇ ā§Ē.ā§Ģ/ā§Ģ āϰ⧇āϟāĻŋāĻ‚ āĻĻ⧇āĻŦāĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻļāĻ•ā§āϤāĻŋ, āĻāĻŦāĻ‚ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āφāĻ¤ā§āĻŽ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ⧇āϰ āϏ⧁āĻ¨ā§āĻĻāϰ āĻ—āĻ˛ā§āĻĒ āϤ⧁āϞ⧇ āϧāϰ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻžāĻŽā§‚āϞāĻ• āϏāĻŋāύ⧇āĻŽāĻž, āϝāĻž āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āχāϤāĻŋāĻŦāĻžāϚāĻ• āĻŽāύ⧋āĻ­āĻžāĻŦ āĻ—āĻĄāĻŧ⧇ āϤ⧋āϞ⧇āĨ¤


āϕ⧇āύ āφāĻĒāύāĻžāϕ⧇ “Zindagi Na Milegi Dobara” āĻĒ⧁āϰ⧋ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻĻ⧇āĻ–āϤ⧇ āĻĒāϰāĻžāĻŽāĻ°ā§āĻļ āĻĻ⧇āĻŦ āύāĻž?

āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ: āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻāĻ• āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻĻ⧇āϝāĻŧāĨ¤ āĻāϟāĻŋ āĻļ⧇āĻ–āĻžāϝāĻŧ, āĻœā§€āĻŦāύ⧇āϰ āφāϏāϞ āϏ⧁āĻ– āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻāĻŦāĻ‚ āĻŽā§āĻšā§‚āĻ°ā§āϤāϕ⧇ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻžāϰ āĻŽāĻ§ā§āϝ⧇ āύāĻŋāĻšāĻŋāϤāĨ¤

āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž: āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āύāĻŋāĻœā§‡āϰ āĻ­āϝāĻŧ āĻ•āĻžāϟāĻŋāϝāĻŧ⧇ āύāϤ⧁āύ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻ…āĻ°ā§āϜāύ⧇āϰ āĻ—āĻ˛ā§āĻĒ, āϝāĻž āφāĻĒāύāĻžāϕ⧇ āĻ…āύ⧁āĻĒā§āϰāĻžāĻŖāĻŋāϤ āĻ•āϰāĻŦ⧇āĨ¤

āφāĻŦ⧇āĻ—āĻĒā§āϰāĻŦāĻŖ āĻ“ āφāύāĻ¨ā§āĻĻāĻĻāĻžāϝāĻŧāĻ•: āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ āϤ⧁āϞ⧇ āϧāϰ⧇, āϝāĻž āφāĻĒāύāĻžāϰ āĻšā§ƒāĻĻāϝāĻŧ⧇ āĻ—āĻ­ā§€āϰ āĻĒā§āϰāĻ­āĻžāĻŦ āĻĢ⧇āϞāĻŦ⧇āĨ¤

āĻŦāĻžāĻ¸ā§āϤāĻŦ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ: āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤ āĻŦāĻžāĻ¸ā§āϤāĻŦ āĻœā§€āĻŦāύ⧇āϰ āĻŽāϤ⧋, āϝāĻž āφāĻĒāύāĻžāϕ⧇ āĻœā§€āĻŦāύ⧇āϰ āϏ⧁āĻ¨ā§āĻĻāϰ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞ⧋āϰ āĻĒā§āϰāϤāĻŋ āφāϰāĻ“ āĻŽāύ⧋āϝ⧋āĻ—ā§€ āĻ•āϰāĻŦ⧇āĨ¤ āĻāϟāĻŋ āφāĻĒāύāĻžāϰ āĻœā§€āĻŦāύāϕ⧇ āφāϰ⧋ āϏ⧁āĻ¨ā§āĻĻāϰāĻ­āĻžāĻŦ⧇ āĻĻ⧇āĻ–āĻžāϰ āĻĒā§āϰ⧇āϰāĻŖāĻž āĻĻāĻŋāĻŦ⧇āĨ¤

“Zindagi Na Milegi Dobara” āĻāĻ•āϟāĻŋ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻžāĻŽā§‚āϞāĻ• āϏāĻŋāύ⧇āĻŽāĻž, āϝāĻž āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻœā§€āĻŦāύ⧇āϰ āĻŽā§‚āĻ˛ā§āϝ āĻāĻŦāĻ‚ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āφāύāĻžāϰ āĻ•āĻĨāĻž āĻŦāϞ⧇āĨ¤ āφāĻĒāύāĻŋ āϝāĻĻāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻ“ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻĻ⧇āĻ–āϤ⧇ āϚāĻžāύ, āϤāĻŦ⧇ āφāĻŽāĻžāϰ āχāωāϟāĻŋāωāĻŦ āĻšā§āϝāĻžāύ⧇āϞ⧇ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤāĻ­āĻžāĻŦ⧇ āĻŦā§āϝāĻžāĻ–ā§āϝāĻž āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āφāĻĒāύāĻŋ āϏ⧇āχ āĻ­āĻŋāĻĄāĻŋāĻ“āϟāĻŋ āĻĻ⧇āϖ⧇ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤ āĻ“ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļāĻŋāĻ•ā§āώāĻžāϗ⧁āϞāĻŋ āφāϰāĻ“ āĻ­āĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āĻŦ⧁āĻāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύāĨ¤

āĻāĻ›āĻžāĻĄāĻŧāĻžāĻ“, āϝāĻĻāĻŋ āφāĻĒāύāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻĒ⧁āϰ⧋āĻĒ⧁āϰāĻŋ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāϤ⧇ āϚāĻžāύ, āϤāĻžāĻšāϞ⧇ āφāĻĒāύāĻŋ āĻāχ āϞāĻŋāĻ™ā§āϕ⧇ āĻ•ā§āϞāĻŋāĻ• āĻ•āϰ⧇ āĻĒ⧁āϰ⧋ āϏāĻŋāύ⧇āĻŽāĻž āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ⧇āύāĨ¤ āĻāϟāĻŋ āφāĻĒāύāĻžāϕ⧇ āφāĻĒāύāĻžāϰ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻāĻŦāĻ‚ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰāĻŦ⧇āĨ¤ āĻĻ⧇āϰāĻŋ āύāĻž āĻ•āϰ⧇ āĻāĻ–āύāχ āĻ­āĻŋāĻĄāĻŋāĻ“āϟāĻŋ āĻĻ⧇āϖ⧁āύ āĻāĻŦāĻ‚ āφāĻŽāĻžāĻĻ⧇āϰ āϏāĻžāĻĨ⧇ āφāĻĒāύāĻžāϰ āĻŽāϤāĻžāĻŽāϤ āĻļ⧇āϝāĻŧāĻžāϰ āĻ•āϰ⧁āύ!

āφāĻŽāĻžāĻĻ⧇āϰ āχāωāϟāĻŋāωāĻŦ āĻšā§āϝāĻžāύ⧇āϞ⧇ āϏāĻŽā§āĻĒā§‚āĻ°ā§āĻŖ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖāσ

“Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧁āϟāĻŋāĻ‚ āĻ¸ā§āĻĨāĻžāύ:

“Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϏ⧁āĻ¨ā§āĻĻāϰ āĻāĻŦāĻ‚ āϐāϤāĻŋāĻšāĻžāϏāĻŋāĻ• āĻ¸ā§āĻĨāĻžāύ⧇ āĻļ⧁āϟāĻŋāĻ‚ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻĒā§āϰ⧇āĻ•ā§āώāĻžāĻĒāϟ āĻ“ āĻĻ⧃āĻļā§āϝāĻžāĻŦāϞ⧀ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻāĻŦāĻ‚ āϰāĻ™āĻŋāύ āĻœā§€āĻŦāύāϝāĻžāĻ¤ā§āϰāĻžāϰ āĻĒā§āϰāϤāĻŋāĻĢāϞāύāĨ¤ āĻāĻ–āĻžāύ⧇ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧁āϟāĻŋāĻ‚āϝāĻŧ⧇āϰ āĻĒā§āϰāϧāĻžāύ āĻ¸ā§āĻĨāĻžāύ⧇āϰ āĻŦāĻŋāĻ¸ā§āϤāĻžāϰāĻŋāϤ:

āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻ•āĻ¸ā§āϟāĻž āĻŦā§āϰāĻžāĻ­āĻž (Costa Brava):
āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧁āϟāĻŋāĻ‚āϝāĻŧ⧇āϰ āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āĻ…āĻ‚āĻļ āĻ•āĻ¸ā§āϟāĻž āĻŦā§āϰāĻžāĻ­āĻžāϰ āϏ⧁āĻ¨ā§āĻĻāϰ āϏ⧈āĻ•āϤ āĻāϞāĻžāĻ•āĻžāϝāĻŧ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āĻĻ⧃āĻļā§āϝ⧇āϰ āϜāĻ¨ā§āϝ āĻĒāϰāĻŋāϚāĻŋāϤ āϝāĻž āϏāĻŋāύ⧇āĻŽāĻžāϰ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻāĻŦāĻ‚ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ āĻĻ⧃āĻļā§āϝāϗ⧁āϞ⧋āϰ āϜāĻ¨ā§āϝ āĻāϕ⧇āĻŦāĻžāϰ⧇ āωāĻĒāϝ⧁āĻ•ā§āϤ āĻ›āĻŋāϞāĨ¤ āĻ•āĻ¸ā§āϟāĻž āĻŦā§āϰāĻžāĻ­āĻž, āϝāĻžāϰ āĻŽāĻžāύ⧇ ‘āϰ⧁āĻ•ā§āώ āωāĻĒāϕ⧂āϞ,’ āĻŦāĻŋāĻļ⧇āώāϤ āĻāϰ āύ⧀āϞ āϜāϞāϰāĻžāĻļāĻŋ āĻāĻŦāĻ‚ āĻāĻ°ā§āĻŖāĻžāϗ⧁āϞāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϤ⧇ āĻ…āϏāĻžāϧāĻžāϰāĻŖāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āĻŦāĻžāĻ°ā§āϏ⧇āϞ⧋āύāĻž (Barcelona):
āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāϰ āĻāĻ•āϟāĻŋ āĻŦāĻĄāĻŧ āĻ…āĻ‚āĻļ āĻļ⧁āϟāĻŋāĻ‚ āĻšāϝāĻŧ⧇āϛ⧇ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āϏ⧁āĻ¨ā§āĻĻāϰ āĻļāĻšāϰ āĻŦāĻžāĻ°ā§āϏ⧇āϞ⧋āύāĻžāϝāĻŧ, āϝ⧇āĻ–āĻžāύ⧇ āĻļāĻšāϰ⧇āϰ āĻŽāύ⧋āĻŽā§āĻ—ā§āϧāĻ•āϰ āĻ¸ā§āĻĨāĻžāĻĒāĻ¤ā§āϝ āĻāĻŦāĻ‚ āϰāĻžāĻ¸ā§āϤāĻžāϗ⧁āϞ⧋āϰ āĻĻ⧃āĻļā§āϝ āĻĻ⧇āĻ–āĻž āϗ⧇āϛ⧇āĨ¤ āĻāĻ–āĻžāύ⧇ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ•āĻŋāϛ⧁ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĻ⧃āĻļā§āϝ āϝ⧇āĻŽāύ, āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁āϰ āĻŽāĻ§ā§āϝ⧇ āĻ•āĻĨā§‹āĻĒāĻ•āĻĨāύ āĻāĻŦāĻ‚ āĻļāĻšāϰ⧇āϰ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āĻ¸ā§āĻĨāĻžāύāϗ⧁āϞāĻŋ āĻļ⧁āϟ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

āĻ•āĻžāĻĻāĻŋāϜ (Cadiz):
āĻ•āĻžāĻĻāĻŋāϜ, āϝāĻž āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻĻāĻ•ā§āώāĻŋāĻŖāĻžāĻžā§āϚāϞ⧇ āĻ…āĻŦāĻ¸ā§āĻĨāĻŋāϤ, “Zindagi Na Milegi Dobara”-āĻāϰ āϜāĻ¨ā§āϝ āφāϰ⧇āĻ•āϟāĻŋ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļ⧁āϟāĻŋāĻ‚ āĻ¸ā§āĻĨāĻžāύ āĻ›āĻŋāϞāĨ¤ āĻāĻ–āĻžāύāĻ•āĻžāϰ āĻĒā§āϰāĻžāĻšā§€āύ āĻļāĻšāϰ āĻāĻŦāĻ‚ āϏ⧈āĻ•āϤ āĻĻ⧃āĻļā§āϝāϗ⧁āϞāĻŋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒāϰāĻŋāĻĒā§‚āĻ°ā§āĻŖāϤāĻž āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻāĻ• āϧāϰāύ⧇āϰ āĻŽā§āĻ•ā§āϤāĻŋ āĻ“ āĻĒā§āϰāĻļāĻžāĻ¨ā§āϤāĻŋāϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āύāĻŋāϝāĻŧ⧇ āφāϏ⧇āĨ¤ āĻ•āĻžāĻĻāĻŋāĻœā§‡āϰ āĻ…āĻŸā§‡āύāϟāĻŋāĻ• āĻĒāϰāĻŋāĻŦ⧇āĻļ āĻāĻŦāĻ‚ āϏāĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋāĻ• āĻŦ⧈āϚāĻŋāĻ¤ā§āĻ°ā§āϝ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϏāĻ™ā§āϗ⧇ āϏāĻ™ā§āĻ—āϤāĻŋāĻĒā§‚āĻ°ā§āĻŖāĻ­āĻžāĻŦ⧇ āωāϠ⧇ āĻāϏ⧇āϛ⧇āĨ¤

āφāϞāĻĒ⧁āĻšāĻžāϰāϰāĻž (Alpujarras):
āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻĻ⧃āĻļā§āϝ āĻļ⧁āϟ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āĻ›āĻŋāϞ āφāϞāĻĒ⧁āĻšāĻžāϰāϰāĻž āĻ…āĻžā§āϚāϞ⧇, āϝāĻž āφāĻ¨ā§āĻĻāĻžāϞ⧁āϏāĻŋāϝāĻŧāĻžāϰ āĻāĻ•āϟāĻŋ āĻĒāĻžāĻšāĻžāĻĄāĻŧāĻŋ āĻāϞāĻžāĻ•āĻžāĨ¤ āĻāĻ–āĻžāύāĻ•āĻžāϰ āĻĻ⧃āĻļā§āϝāĻžāĻŦāϞ⧀ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻāĻŦāĻ‚ āĻ¸ā§āĻĨāĻžāύ⧀āϝāĻŧ āĻœā§€āĻŦāύ⧇āϰ āĻļāĻžāĻ¨ā§āϤāĻŋāĻĒā§‚āĻ°ā§āĻŖ āϚāĻŋāĻ¤ā§āϰ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ āĻ…āĻ‚āĻļāϟāĻŋ āĻāχ āĻāϞāĻžāĻ•āĻžāϝāĻŧ āĻļ⧁āϟ āĻ•āϰāĻž āĻšāϝāĻŧ⧇āĻ›āĻŋāϞ, āϝ⧇āĻ–āĻžāύ⧇ āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁āϰ āĻŽāĻ§ā§āϝ⧇ āĻ—āĻ­ā§€āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āϘāĻŸā§‡āĨ¤

āĻŦāĻŋāϞāĻŦāĻžāĻ“ (Bilbao):
āĻŦāĻŋāϞāĻŦāĻžāĻ“ āĻļāĻšāϰ⧇āϰ āĻ•āĻŋāϛ⧁ āĻ…āĻ‚āĻļ⧇āĻ“ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧁āϟāĻŋāĻ‚ āĻšāϝāĻŧ⧇āϛ⧇, āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻļāĻšāϰ⧇āϰ āφāϧ⧁āύāĻŋāĻ• āĻ¸ā§āĻĨāĻžāĻĒāĻ¤ā§āϝ āĻāĻŦāĻ‚ āϐāϤāĻŋāĻšā§āϝāĻŦāĻžāĻšā§€ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻĒā§āϰāĻĻāĻ°ā§āĻļāύ⧇āϰ āϜāĻ¨ā§āϝāĨ¤

    āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ āĻ“ āĻ¸ā§āĻĨāĻžāĻĒāĻ¤ā§āϝ: āĻāχ āϏāĻŽāĻ¸ā§āϤ āĻ¸ā§āĻĨāĻžāύ⧇ āĻļ⧁āϟāĻŋāĻ‚ āĻ•āϰ⧇ āϏāĻŋāύ⧇āĻŽāĻž āύāĻŋāĻ°ā§āĻŽāĻžāϤāĻžāϰāĻž “Zindagi Na Milegi Dobara”āϤ⧇ āĻ­ā§āϰāĻŽāĻŖ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύāϝāĻžāĻ¤ā§āϰāĻžāϰ āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝāϕ⧇ āĻ…āϏāĻžāϧāĻžāϰāĻŖāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰāϤ⧇ āĻĒ⧇āϰ⧇āϛ⧇āύāĨ¤ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϜāĻžāϝāĻŧāĻ—āĻžāϰ āĻ›āĻŦāĻŋāϰ āĻŽāϤ⧋ āĻĻ⧃āĻļā§āϝāĻžāĻŦāϞ⧀ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤāϕ⧇ āφāϰāĻ“ āϰ⧋āĻŽāĻžāĻ¨ā§āϟāĻŋāĻ• āĻāĻŦāĻ‚ āωāĻ¤ā§āϤ⧇āϜāύāĻžāĻĒā§‚āĻ°ā§āĻŖ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āĨ¤ āĻ¸ā§āĻĒ⧇āύ⧇āϰ āĻāχ āϏāĻ•āϞ āϜāĻžāϝāĻŧāĻ—āĻžāϝāĻŧ āĻļ⧁āϟāĻŋāĻ‚āϝāĻŧ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āĻ—āĻ˛ā§āĻĒ āύāϝāĻŧ, āĻŦāϰāĻ‚ āϏ⧇āχ āĻĻ⧇āĻļ⧇āϰ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āϏ⧌āĻ¨ā§āĻĻāĻ°ā§āϝ, āϏāĻ‚āĻ¸ā§āĻ•ā§ƒāϤāĻŋ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻāĻ• āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻĻ⧇āĻ–āĻžāύ⧋āϰ āĻāĻ•āϟāĻŋ āĻĒā§āĻ˛ā§āϝāĻžāϟāĻĢāĻ°ā§āĻŽ āĻšāϝāĻŧ⧇ āωāϠ⧇āϛ⧇āĨ¤

    (FAQs) for “Zindagi Na Milegi Dobara”:

    “Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ āϕ⧀?
    āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁āϰ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϏāĻŽāĻ¸ā§āϝāĻžāϗ⧁āϞāĻŋāϰ āĻŽā§āĻ–ā§‹āĻŽā§āĻ–āĻŋ āĻšāĻ“āϝāĻŧāĻž āĻāĻŦāĻ‚ āĻāϕ⧇ āĻ…āĻĒāϰāϕ⧇ āφāϰāĻ“ āĻ­āĻžāϞ⧋āĻ­āĻžāĻŦ⧇ āĻŦ⧁āĻāϤ⧇ āĻļ⧇āĻ–āĻžāϰ āĻ—āĻ˛ā§āĻĒāĨ¤ āϤāĻžāϰāĻž āĻāĻ•āϏāĻžāĻĨ⧇ āĻ­ā§āϰāĻŽāĻŖ āĻ•āϰāϤ⧇ āĻŦ⧇āϰāĻŋāϝāĻŧ⧇, āĻœā§€āĻŦāύ⧇āϰ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āφāĻŦāĻŋāĻˇā§āĻ•āĻžāϰ āĻ•āϰ⧇āĨ¤

    āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϕ⧋āύ āϧāϰāύ⧇āϰ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ?
    “Zindagi Na Milegi Dobara” āĻāĻ•āϟāĻŋ āĻŦāϞāĻŋāωāĻĄ āĻĄā§āϰāĻžāĻŽāĻž, āĻ•āĻŽā§‡āĻĄāĻŋ āĻāĻŦāĻ‚ āĻ…ā§āϝāĻžāĻĄāϭ⧇āĻžā§āϚāĻžāϰ āĻĢāĻŋāĻ˛ā§āĻŽ, āϝāĻž āĻœā§€āĻŦāύ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āϏāĻžāĻšāϏāĻŋāĻ•āϤāĻžāϰ āωāĻĒāϰ āĻ­āĻŋāĻ¤ā§āϤāĻŋ āĻ•āϰ⧇āĨ¤

    āĻ•āĻžāĻĻ⧇āϰ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇ “Zindagi Na Milegi Dobara”-āϤ⧇?
    āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋āϤ⧇ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇āύ āĻšā§ƒāϤāĻŋāĻ• āϰ⧋āĻļāύ, āφāĻŦāϝāĻŧ āĻĻāĻŋāĻ“āϞ, āĻ•ā§āϝāĻžāϟāϰāĻŋāύāĻž āĻ•āĻžāχāĻĢ, āĻāĻŦāĻ‚ āĻ•ā§ƒāϤ⧀ āϏ⧇āύāύāĨ¤ āϤāĻžāϰāĻž āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽā§‚āϞ āĻĻāĻŋāĻ•āϗ⧁āϞāĻŋ āωāĻœā§āĻœā§āĻŦāϞāĻ­āĻžāĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āϛ⧇āύāĨ¤

    “Zindagi Na Milegi Dobara” āĻāϰ āϟāĻĒ āĻ—āĻžāύāϗ⧁āϞ⧋ āϕ⧀ āϕ⧀?
    āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ•āĻŋāϛ⧁ āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āĻ—āĻžāύ āĻšāϞ: “Senorita,” “Dil Dhadakne Do,” āĻāĻŦāĻ‚ “Khaabon Ke Parinday,” āϝāĻž āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϏāĻžāĻĨ⧇ āϏ⧁āĻ¨ā§āĻĻāϰāĻ­āĻžāĻŦ⧇ āĻŽāĻŋāĻļ⧇ āϗ⧇āϛ⧇āĨ¤

    “Zindagi Na Milegi Dobara”-āĻāϰ āĻļ⧇āώ⧇ āϕ⧀ āϘāĻŸā§‡?
    āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻļ⧇āώ⧇, āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁ āϤāĻžāĻĻ⧇āϰ āĻ­āϝāĻŧ āĻ“ āϚāĻŋāĻ¨ā§āϤāĻž āϛ⧇āĻĄāĻŧ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻ—ā§āϰāĻšāĻŖ āĻ•āϰ⧇āĨ¤ āϤāĻžāϰāĻž āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰ⧇ āϝ⧇, āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻŽā§āĻšā§‚āĻ°ā§āϤāϕ⧇ āωāĻĒāĻ­ā§‹āĻ— āĻ•āϰāĻž āωāϚāĻŋāϤ āĻāĻŦāĻ‚ āĻŦāĻžāĻ¸ā§āϤāĻŦ āφāύāĻ¨ā§āĻĻ āϝ⧇āĻ–āĻžāύ⧇, āϏ⧇āĻ–āĻžāύ⧇āχāĨ¤

    “Zindagi Na Milegi Dobara” āĻ•āĻŋ āϕ⧋āύ⧋ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āϜāĻŋāϤ⧇āϛ⧇?
    āĻšā§āϝāĻžāρ, āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŦ⧇āĻļ āĻ•āĻŋāϛ⧁ āĻĒ⧁āϰāĻ¸ā§āĻ•āĻžāϰ āĻĒ⧇āϝāĻŧ⧇āϛ⧇, āϝ⧇āĻŽāύ Filmfare Award āĻāĻŦāĻ‚ IIFA AwardāĨ¤ āĻāϟāĻŋ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦā§āϝāĻžāĻĒāĻ• āϜāύāĻĒā§āϰāĻŋāϝāĻŧāϤāĻž āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇āϛ⧇āĨ¤

    “Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻž āϕ⧇āύ āĻĻ⧇āĻ–āϤ⧇ āĻšāĻŦ⧇?
    āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻāĻ• āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻĻ⧇āϝāĻŧ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻļāĻ•ā§āϤāĻŋ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āφāύāĻ¨ā§āĻĻ āϖ⧁āρāĻœā§‡ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāϛ⧇āĨ¤ āĻāϟāĻŋ āφāĻĒāύāĻžāϰ āĻœā§€āĻŦāύ⧇ āχāϤāĻŋāĻŦāĻžāϚāĻ• āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āφāύāϤ⧇ āϏāĻžāĻšāĻžāĻ¯ā§āϝ āĻ•āϰāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤

    āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŦāĻžāĻœā§‡āϟ āĻ•āϤ āĻ›āĻŋāϞ?
    “Zindagi Na Milegi Dobara” āĻāϰ āĻĒā§āϰāĻžāĻĨāĻŽāĻŋāĻ• āĻŦāĻžāĻœā§‡āϟ āĻ›āĻŋāϞ āĻĒā§āϰāĻžāϝāĻŧ ā§Ģā§Ģ āϕ⧋āϟāĻŋ āϰ⧁āĻĒāĻŋ, āĻāĻŦāĻ‚ āĻāϟāĻŋ āĻŦāĻ•ā§āϏ āĻ…āĻĢāĻŋāϏ⧇ āϏāĻĢāϞāĻ­āĻžāĻŦ⧇ āĻ…āύ⧇āĻ• āĻŦ⧇āĻļāĻŋ āφāϝāĻŧ āĻ•āϰ⧇āϛ⧇āĨ¤

    “Zindagi Na Milegi Dobara” āϕ⧇āύ āĻāϤ āϜāύāĻĒā§āϰāĻŋāϝāĻŧ?
    āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞāĻŋāϕ⧇ āĻāĻ•āϟāĻŋ āϏ⧁āĻ¨ā§āĻĻāϰ āĻĻ⧃āĻˇā§āϟāĻŋāϕ⧋āĻŖ āĻĨ⧇āϕ⧇ āĻĻ⧇āĻ–āĻžāύ⧋āϰ āĻ•āĻžāϰāϪ⧇ āĻāϟāĻŋ āĻŦā§āϝāĻžāĻĒāĻ• āϜāύāĻĒā§āϰāĻŋāϝāĻŧāϤāĻž āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāϤ⧁āύ āĻĻ⧃āĻˇā§āϟāĻŋāĻ­āĻ™ā§āĻ—āĻŋ āĻļāĻŋāĻ–āĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

      āφāĻĒāύāĻžāϰ āĻŽāϤāĻžāĻŽāϤ āφāĻŽāĻžāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āϖ⧁āĻŦāχ āϗ⧁āϰ⧁āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ! “Zindagi Na Milegi Dobara” āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āĻĻ⧇āϖ⧇ āφāĻĒāύāĻžāϰ āϕ⧀ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻšāϝāĻŧ⧇āϛ⧇? āϏāĻŋāύ⧇āĻŽāĻžāϰ āϕ⧋āύ āĻ…āĻ‚āĻļāϟāĻŋ āφāĻĒāύāĻžāϕ⧇ āϏāĻŦāĻšā§‡āϝāĻŧ⧇ āĻŦ⧇āĻļāĻŋ āĻ…āύ⧁āĻĒā§āϰāĻžāĻŖāĻŋāϤ āĻ•āϰ⧇āϛ⧇? āφāĻŽāĻžāĻĻ⧇āϰ āĻ•āĻŽā§‡āĻ¨ā§āϟ āϏ⧇āĻ•āĻļāύ⧇ āφāĻĒāύāĻžāϰ āĻŽāϤāĻžāĻŽāϤ āĻļ⧇āϝāĻŧāĻžāϰ āĻ•āϰ⧁āύāĨ¤

      āφāϰāĻ“ āĻĻāĻžāϰ⧁āĻŖ āĻ•āύāĻŸā§‡āĻ¨ā§āϟ āĻĒāĻĄāĻŧāϤ⧇ āĻāĻŦāĻ‚ āφāĻĒāύāĻžāϰ āĻĒā§āϰāĻŋāϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϗ⧁āϞ⧋āϰ āϰāĻŋāĻ­āĻŋāω āĻĒ⧇āϤ⧇ āĻ­āĻŋāϜāĻŋāϟ āĻ•āϰ⧁āύ joymahidul.comāĨ¤ āφāĻĒāύāĻžāϰ āĻŽāϤāĻžāĻŽāϤāχ āφāĻŽāĻžāĻĻ⧇āϰ āĻĒāĻĨāϚāϞāĻžāϝāĻŧ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āϝ⧋āĻ—āĻžāϝāĻŧ! 🌟

      āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ: āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻĒā§‚āĻ°ā§āĻŖ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻĻ⧇āϖ⧁āύ!

      āĻāĻ•āϟāĻŋ āϝāĻžāĻ¤ā§āϰāĻž āϝāĻž āφāĻĒāύāĻžāϰ āĻšā§ƒāĻĻāϝāĻŧ āϛ⧁āρāϝāĻŧ⧇ āϝāĻžāĻŦ⧇! āϜāĻžāύ⧁āύ ‘āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ’-āĻāϰ āφāϏāϞ āĻ—āĻ˛ā§āĻĒ!

      āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ: āĻāĻ•āϟāĻŋ āĻ—āĻ­ā§€āϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽā§‡āϰ āϰāĻŋāĻ­āĻŋāω

      āĻ­āĻžāϰāϤ⧀āϝāĻŧ āϤāĻžāĻŽāĻŋāϞ āĻ­āĻžāώāĻžāϰ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” (⧍ā§Ļ⧍ā§Ē) āĻāĻ•āϟāĻŋ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āϝāĻž āĻ—āĻ­ā§€āϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϚāĻĄāĻŧāĻžāχ-āĻ‰ā§ŽāϰāĻžāχāϕ⧇ āϏ⧁āĻ¨ā§āĻĻāϰāĻ­āĻžāĻŦ⧇ āωāĻĒāĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻŽāĻžāχāϕ⧇āϞ āϕ⧇. āϰāĻžāϜāĻžāϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϝāĻŧ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āĻāχ āĻ›āĻŦāĻŋ āĻĒāϰāĻŋāĻŦāĻžāϰ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ—āĻ˛ā§āĻĒ āύāĻŋāϝāĻŧ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϚāϞ⧇āĨ¤ āĻ›āĻŦāĻŋāϟāĻŋ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞāĻŋāϰ āϝāĻžāĻ¤ā§āϰāĻž āĻāĻŦāĻ‚ āϤāĻžāĻĻ⧇āϰ āϭ⧇āϤāϰāĻ•āĻžāϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ⧇āϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇ āĻāĻ•āϟāĻŋ āĻ—āĻ­ā§€āϰ āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻŦāĻžāĻ°ā§āϤāĻž āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰ⧇āĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻžāĻ“, āφāĻŽāϰāĻž āĻāχ āĻ›āĻŦāĻŋāϟāĻŋāϰ āϏāĻžāĻĨ⧇ āĻ…āύ⧇āĻ• āϜāύāĻĒā§āϰāĻŋāϝāĻŧ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻŽāĻŋāϞ āϖ⧁āρāĻœā§‡ āĻŦ⧇āϰ āĻ•āϰ⧇āĻ›āĻŋ, āϝāĻž āĻāϰ āĻĨāĻŋāĻŽ āĻāĻŦāĻ‚ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āφāϰāĻ“ āĻŽāϜāĻŦ⧁āϤ āĻ•āϰ⧇āϛ⧇āĨ¤

      āĻĒā§āϞāĻŸā§‡āϰ āϏāĻžāϰāϏāĻ‚āĻ•ā§āώ⧇āĻĒ

      āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāϟāĻŋ āĻļ⧁āϰ⧁ āĻšāϝāĻŧ āϕ⧁āĻŽāĻžāϰ (āĻ­āĻŋāĻŽāϞ) āύāĻžāĻŽā§‡ āĻāĻ•āϜāύ āĻā§āϝāĻžāĻŽā§āĻŦ⧁āϞ⧇āĻ¨ā§āϏ āĻĄā§āϰāĻžāχāĻ­āĻžāϰ⧇āϰ āĻœā§€āĻŦāύ āϘāĻŋāϰ⧇āĨ¤ āϕ⧁āĻŽāĻžāϰ āĻāĻ•āϜāύ āĻĒā§āϰāĻ­āĻžāĻŦāĻļāĻžāϞ⧀ āĻŦāĻžāĻ•ā§āϤāĻŋāϰ āĻŽā§ƒāϤāĻĻ⧇āĻš āĻĄā§‡āϞāĻŋāĻ­āĻžāϰāĻŋ āĻ•āϰāĻžāϰ āĻĻāĻžāϝāĻŧāĻŋāĻ¤ā§āĻŦ āĻĒāĻžāϝāĻŧāĨ¤ āĻāχ āϏāĻžāϧāĻžāϰāĻŖ āĻ•āĻžāϜāϟāĻŋ āϤāĻžāϰ āϜāĻ¨ā§āϝ āĻāĻ•āĻžāϧāĻŋāĻ• āϏāĻŽāĻ¸ā§āϝāĻžāϰ āĻ•āĻžāϰāĻŖ āĻšāϝāĻŧ⧇ āĻ“āϠ⧇ āφāϰ āĻ…āĻ¨ā§āϝ āĻĻāĻŋāϕ⧇ āϤāĻžāϰ āĻŦāω āĻāϰ āĻĒ⧇āĻŸā§‡ āĻŦāĻžāĻšā§āϚāĻž āϏ⧇āĻ“ āĻšāĻžāϏāĻĒāĻžāϤāĻžāϞ⧇ āĻ­āĻ°ā§āϤāĻŋ āϝ⧇āϕ⧋āύ āĻŽā§āĻšā§‚āĻ°ā§āϤ⧇ āĻŦāĻžāĻšā§āϚāĻž āĻšāχāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϕ⧁āĻŽāĻžāϰ⧇āϰ āϏāĻ™ā§āĻ—ā§€ āύāϞāĻŋāύāĻžāĻŽā§‚āĻ°ā§āϤāĻŋ (āĻ•āϰ⧁āĻŖāĻžāϏ) āϤāĻžāϰ āĻāχ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āĻŽāĻžāĻ āĻĒāĻĨ⧇ āĻ—āĻžā§œāĻŋāϤ⧇ āϞāĻŋāĻĢāϟ āĻ¨ā§‡ā§Ÿ, āϝāĻž āĻāĻ• āĻ­āĻŋāĻ¨ā§āύ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻžāϝāĻŧ āĻĒāϰāĻŋāĻŖāϤ āĻšāϝāĻŧ āĻāϤ⧇ āĻĒā§āϰāĻžāĻŖ āύāĻžāĻļ⧇āϰāĻ“ āϏāĻ™ā§āĻ•āĻž āϤ⧈āϰāĻŋ āĻšā§ŸāĨ¤

      āĻŽā§āĻ­āĻŋāϟāĻŋāϰ āĻ—āĻ˛ā§āĻĒ āϜāϟāĻŋāϞāϤāĻž āĻĒāĻžāϝāĻŧ āϝāĻ–āύ āĻŽā§ƒāϤāĻĻ⧇āĻšāϟāĻŋ āĻšāĻžāϰāĻŋāϝāĻŧ⧇ āϝāĻžāϝāĻŧ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻĻ⧁āχ āϛ⧇āϞ⧇ āĻ–ā§‹āρāϜāĻž āĻļ⧁āϰ⧁ āĻ•āϰ⧇ āϞāĻžāĻļāĨ¤ āĻāχ āĻ…āĻŦāĻ¸ā§āĻĨāĻžāϝāĻŧ āϕ⧁āĻŽāĻžāϰ āĻāĻŦāĻ‚ āĻŽā§‚āĻ°ā§āϤāĻŋ āĻāĻ•āϏāĻžāĻĨ⧇ āϏāĻŽāĻžāϧāĻžāύ⧇āϰ āĻĒāĻĨ⧇ āĻŦ⧇āϰ āĻ•āϰ⧇āĨ¤ āĻāχ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āϤāĻžāĻĻ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϏāĻŽāĻ¸ā§āϝāĻžāϰ āϏāĻŽā§āĻŽā§āĻ–ā§€āύ āĻšāϤ⧇ āĻšāϝāĻŧāĨ¤ āĻ—āĻ˛ā§āĻĒāϟāĻŋ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āφāĻŦ⧇āĻ—āϘāύ āĻŽā§āĻšā§‚āĻ°ā§āϤ, āĻšāĻžāϏāĻŋ, āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āĻ—āĻ­ā§€āϰ āωāĻĒāϞāĻŦā§āϧāĻŋāϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇ āĻāĻ—āĻŋāϝāĻŧ⧇ āϚāϞ⧇ āϝāĻž āϤ⧋āĻŽāĻžāϕ⧇ āĻ•āĻžāĻ¨ā§āύāĻž āĻ•āϰāĻžāĻŦ⧇āĨ¤

      āĻĨāĻŋāĻŽ āĻāĻŦāĻ‚ āĻŦāĻžāĻ°ā§āϤāĻž

      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āύāϝāĻŧ; āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āωāĻĻā§āĻĻ⧇āĻļā§āϝ āĻāĻŦāĻ‚ āĻŽāĻžāύāĻŦāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύ⧇āϰ āĻāĻ•āϟāĻŋ āĻ…āύāĻ¨ā§āϝ āĻĒā§āϰāĻšā§‡āĻˇā§āϟāĻž, āĻāĻ•āϜāύ āĻŽāĻžāύ⧁āώ⧇āϰ āĻ­āĻŋāϤāϰ⧇ āϝāĻž āϛ⧁āĻā§Ÿā§‡ āϝāĻžāĻŦ⧇āĨ¤ āĻ›āĻŦāĻŋāϰ āĻŽā§‚āϞ āĻĨāĻŋāĻŽ āĻšāϞ⧋:

      1. āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ: āϕ⧁āĻŽāĻžāϰ āĻāĻŦāĻ‚ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āĻŽāĻ§ā§āϝāĻ•āĻžāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻŦāĻ¨ā§āϧ⧁āϰ āϜāĻ¨ā§āϝ āφāĻ¤ā§āϤāϤāĻžāĻ— āĻ•āϰāĻž āφāĻŽāĻžāĻĻ⧇āϰ āĻ…āύ⧇āĻ• āĻĒ⧁āϰāύ⧋ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āϏ⧇āχ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋ āĻŽāύ⧇ āĻ•āϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧāĨ¤
      2. āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāĻ—: āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϚāϰāĻŋāĻ¤ā§āϰāϟāĻŋ āϤāĻžāϰ āĻŦāĻ¨ā§āϧ⧁āϰ āϜāĻ¨ā§āϝ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ­ā§€āϰ āĻŽā§‚āĻ˛ā§āϝāĻŦā§‹āϧāϕ⧇ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āĨ¤ āĻāĻ•āϜāύ āĻŦāĻ¨ā§āϧ⧁ āϝ⧇ āĻāĻ•āϰāĻžāϤ⧇āϰ āĻŦāĻ¨ā§āϧ⧁āϰ āϜāĻ¨ā§āϝ āύāĻŋāĻœā§‡āϰ āĻœā§€āĻŦāύ āĻ… āĻĻāĻŋā§Ÿā§‡ āĻĻāĻŋāϤ⧇ āĻĒāĻžāϰ⧇ āϤāĻž āĻ…āύāĻ¨ā§āϝ āĻāχ āĻ—āĻ˛ā§āĻĒ⧇āĨ¤
      3. āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž: āϕ⧁āĻŽāĻžāϰ⧇āϰ āϚāϰāĻŋāĻ¤ā§āϰāϟāĻŋ āϤāĻžāϰ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āϜāĻ¨ā§āϝ āϏāĻŦāĻ•āĻŋāϛ⧁ āĻ•āϰāĻžāϰ āϝ⧇ āĻĒā§āϰāĻšā§‡āĻˇā§āϟāĻž āĻ•āϰ⧇, āϤāĻž āĻāχ āĻ—āĻ˛ā§āĻĒ⧇ āĻĒā§āϰāϤāĻŋāϟāĻŋ āĻĻāĻ°ā§āĻļāϕ⧇āϰ āĻšā§ƒāĻĻāϝāĻŧ⧇ āĻĻāĻžāĻ— āĻ•āĻžāϟāĻŦ⧇āĨ¤ āĻĻāĻžā§ŸāĻŋāĻ¤ā§āĻŦ āϝ⧇ āĻāĻ•āϜāύ āĻĒ⧁āϰ⧁āώāϕ⧇ āĻ•āϤ⧋āĻ–āĻžāύāĻŋ āĻĒāϰāĻŋāĻļā§āϰāĻŽ āĻ•āϰāĻžā§Ÿ āϤāĻž āĻĢ⧁āϟāĻŋā§Ÿā§‡ āωāϠ⧇āϛ⧇āĨ¤

      āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ“ āϚāϰāĻŋāĻ¤ā§āϰ āϚāĻŋāĻ¤ā§āϰāĻŖ

      āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻ“ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ—āĻ˛ā§āĻĒ āύāĻŋāϝāĻŧ⧇ āύāĻŋāĻ°ā§āĻŽāĻŋāϤ āĻāĻ•āϟāĻŋ āϤāĻžāĻŽāĻŋāϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ
      āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞāϤāĻžāϕ⧇ āϏāĻšāϜāĻ­āĻžāĻŦ⧇ āĻĻ⧇āĻ–āĻžāϝāĻŧ āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽāĨ¤
      1. āĻ­āĻŋāĻŽāϞ (āϕ⧁āĻŽāĻžāϰ): āϕ⧁āĻŽāĻžāϰ⧇āϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ­āĻŋāĻŽāϞ⧇āϰ āĻ…āĻ­āĻŋāύāϝāĻŧ āϏāĻ¤ā§āϝāĻŋāχ āĻĒā§āϰāĻļāĻ‚āϏāύ⧀āϝāĻŧ, āĻ­āĻŋāĻŽāϞ⧇āϰ āĻšā§‡āĻšāĻžāϰāĻžāϰ āĻ…āĻ™ā§āĻ—āĻ­āĻ™ā§āĻ—āĻŋ āĻ…āĻ¨ā§āϝāϰāĻ•āĻŽ āĻāĻ•āϟāĻž āĻ…āύāϭ⧁āϤāĻŋ āĻĻāĻŋāĻŦ⧇āĨ¤ āϤāĻžāϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āφāĻŦ⧇āĻ—āϘāύ āĻĻāĻŋāĻ•āϗ⧁āϞ⧋ āϤāĻŋāύāĻŋ āύāĻŋāϖ⧁āρāϤāĻ­āĻžāĻŦ⧇ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧁āϞ⧇āϛ⧇āύ āϤāĻŦ⧇ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻļ⧇āώ⧇ āϤ⧋āĻŽāĻžāϕ⧇ āφāĻŦ⧇āĻ—āĻĒā§‚āĻ°ā§āĻŖ āĻ•āϰ⧇ āϤ⧁āϞāĻŦ⧇āĨ¤
      2. āĻ•āϰ⧁āĻŖāĻžāϏ (āύāϞāĻŋāύāĻžāĻŽā§‚āĻ°ā§āϤāĻŋ): āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ•āϰ⧁āĻŖāĻžāϏ āϤāĻžāϰ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻĻāĻ•ā§āώāϤāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻ›āĻŦāĻŋāϕ⧇ āĻāĻ• āύāϤ⧁āύ āωāĻšā§āϚāϤāĻžāϝāĻŧ āύāĻŋāϝāĻŧ⧇ āϗ⧇āϛ⧇āύ āϤāĻžāϰ āĻ…āĻ­āĻŋāύ⧟ āĻŦ⧁āĻāĻŋā§Ÿā§‡ āĻĻāĻŋā§Ÿā§‡āϛ⧇ āϤāĻŋāύāĻŋ āĻ•āϤ⧋āϟāĻž āĻ…āĻ­āĻŋāĻœā§āĻžāĨ¤
      3. āĻŽā§‡āϰāĻŋ āϰāĻŋāϕ⧇āϟāϏ (āĻ•āĻžāϞāĻžāχāϝāĻŧāĻžāĻāĻžāĻ—āĻŋ): āϕ⧁āĻŽāĻžāϰ⧇āϰ āĻ¸ā§āĻ¤ā§āϰ⧀āϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻŽā§‡āϰāĻŋ āϰāĻŋāϕ⧇āϟāϏ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇āύāĨ¤

      āύāĻŋāĻ°ā§āĻŽāĻžāĻŖ āĻ“ āĻĒā§āϰāϝ⧁āĻ•ā§āϤāĻŋāĻ—āϤ āĻĻāĻŋāĻ•

      1. āĻĒāϰāĻŋāϚāĻžāϞāύāĻž: āĻŽāĻžāχāϕ⧇āϞ āϕ⧇. āϰāĻžāϜāĻžāϰ āĻĻāĻ•ā§āώ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ›āĻŦāĻŋāϟāĻŋāϕ⧇ āĻĒā§āϰāĻžāϏāĻ™ā§āĻ—āĻŋāĻ• āĻ“ āĻšā§ƒāĻĻāϝāĻŧāĻ—ā§āϰāĻžāĻšā§€ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇ āϤāĻž āϏāĻ¤ā§āϝāĻŋāχ āĻĒā§āϰāĻļāĻ‚āϏāύ⧀āϝāĻŧāĨ¤
      2. āϏāĻŋāύ⧇āĻŽāĻžāĻŸā§‹āĻ—ā§āϰāĻžāĻĢāĻŋ: āĻĄā§‡āĻŽā§‡āϞ āϜāĻžāĻ­āĻŋāϝāĻŧāĻžāϰ āĻāĻĄāĻ“āϝāĻŧāĻžāĻ°ā§āĻĄāϏ⧇āϰ āĻ•ā§āϝāĻžāĻŽā§‡āϰāĻžāϰ āĻ•āĻžāϜ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āϝāĻžāĻ¤ā§āϰāĻžāϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻĻ⧇āϝāĻŧāĨ¤ āϤāĻžāĻŽāĻŋāϞāύāĻžāĻĄāĻŧ⧁āϰ āĻĒā§āϰāĻžāĻ•ā§ƒāϤāĻŋāĻ• āĻĻ⧃āĻļā§āϝ āĻāĻŦāĻ‚ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ⧇āϰ āϚāĻŋāĻ¤ā§āϰāĻžāϝāĻŧāύ āĻ›āĻŋāϞ āĻ…āϏāĻžāϧāĻžāϰāĻŖāĨ¤
      3. āϏāĻ™ā§āĻ—ā§€āϤ: āĻāύ. āφāϰ. āϰāϘ⧁āύāĻžāĻĨāύ⧇āϰ āϏ⧁āϰ āĻ›āĻŦāĻŋāϰ āφāĻŦ⧇āĻ—āϕ⧇ āφāϰāĻ“ āĻœā§‹āϰāĻžāϞ⧋ āĻ•āϰ⧇āϛ⧇āĨ¤
      4. āϏāĻŽā§āĻĒāĻžāĻĻāύāĻž: āĻāĻŽ. āĻĨāĻŋāϝāĻŧāĻžāĻ—āĻžāϰāĻžāϜāύ⧇āϰ āϏāĻŽā§āĻĒāĻžāĻĻāύāĻž āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āϤāĻŋ āĻŦāϜāĻžāϝāĻŧ āϰ⧇āϖ⧇āϛ⧇āĨ¤

      āĻŽā§āĻ•ā§āϤāĻŋ āĻ“ āϜāύāĻĒā§āϰāĻŋāϝāĻŧāϤāĻž

      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” ⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇āϰ ā§¨ā§Š āφāĻ—āĻ¸ā§āĻŸā§‡ āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĒāĻžāϝāĻŧ, āϝāĻž āϤāĻžāĻŽāĻŋāϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻĒā§āϰ⧇āĻŽā§€āĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇ āĻŦāĻĄāĻŧ āϧāϰāύ⧇āϰ āφāϞ⧋āϚāύāĻž āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰ⧇āĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āĻ›āĻŦāĻŋāϟāĻŋ āĻ•āĻŋāϛ⧁ āϏāĻŽāϝāĻŧ⧇āϰ āϜāĻ¨ā§āϝ āĻŦāĻĄāĻŧ āĻĒāĻ°ā§āĻĻāĻžāϝāĻŧ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āφāĻ•ā§ƒāĻˇā§āϟ āĻ•āϰāϤ⧇ āϏāĻ•ā§āώāĻŽ āĻšāϝāĻŧ, āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻĻāĻŋāĻ• āĻāĻŦāĻ‚ āφāĻŦ⧇āĻ—āϘāύ āĻŽā§āĻšā§‚āĻ°ā§āϤāϗ⧁āϞāĻŋ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ⧇ āĻ—āĻ­ā§€āϰ āĻĒā§āϰāĻ­āĻžāĻŦ āĻĢ⧇āϞ⧇āĨ¤ ā§Ž āĻ…āĻ•ā§āĻŸā§‹āĻŦāϰ ⧍ā§Ļ⧍ā§Ē āĻĨ⧇āϕ⧇ āĻ›āĻŦāĻŋāϟāĻŋ āĻĒā§āϰāĻžāχāĻŽ āĻ­āĻŋāĻĄāĻŋāĻ“āϤ⧇ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚ āĻļ⧁āϰ⧁ āĻšāϝāĻŧ, āĻāĻŦāĻ‚ āĻāϟāĻŋ āφāϰāĻ“ āĻŦā§āϝāĻžāĻĒāĻ• āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āĻĒ⧌āρāĻ›āĻžāϤ⧇ āϏāĻ•ā§āώāĻŽ āĻšāϝāĻŧ, āϝāĻžāĻĻ⧇āϰ āϜāĻ¨ā§āϝ āĻāϟāĻŋ āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ⧇ āĻĻ⧇āĻ–āĻž āϏāĻŽā§āĻ­āĻŦ āĻšāϝāĻŧāύāĻŋāĨ¤ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚ āĻĒā§āĻ˛ā§āϝāĻžāϟāĻĢāĻ°ā§āĻŽā§‡ āĻŽā§āĻ•ā§āϤāĻŋ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āĻĒāϰ āĻ›āĻŦāĻŋāϟāĻŋ āφāϰāĻ“ āĻŦāĻĄāĻŧ āϏāĻžāĻĢāĻ˛ā§āϝ āĻ…āĻ°ā§āϜāύ āĻ•āϰ⧇ āĻāĻŦāĻ‚ āĻāĻ•āϟāĻŋ āύāϤ⧁āύ āĻĻāĻ°ā§āĻļāĻ• āĻļā§āϰ⧇āĻŖā§€ āϤ⧈āϰāĻŋ āĻšāϝāĻŧ āϝāĻžāϰāĻž āĻ›āĻŦāĻŋāϟāĻŋāϰ āĻ—āĻ­ā§€āϰāϤāĻž āĻāĻŦāĻ‚ āĻĨāĻŋāĻŽā§‡āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇ āĻāĻ–āĻžāύ⧇ āĻ•ā§āϞāĻŋāĻ• āĻ•āϰ⧇ āφāĻĒāύāĻŋāĻ“ āĻĻ⧇āϖ⧇ āύāĻŋāύāĨ¤

      āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒā§āϰāĻĨāĻŽ āϏāĻĒā§āϤāĻžāĻšā§‡, “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻ­āĻžāϰāϤ⧇āϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻ…āĻžā§āϚāϞ⧇ āĻŦā§āϝāĻžāĻĒāĻ•āĻ­āĻžāĻŦ⧇ āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻĨāĻŋāĻŽ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ—āĻ˛ā§āĻĒ, āĻāĻŦāĻ‚ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻŽāĻžāχāϕ⧇āϞ āϕ⧇. āϰāĻžāϜāĻžāϰ āϏ⧂āĻ•ā§āĻˇā§āĻŽ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ⧇ āĻ—āĻ­ā§€āϰ āĻĻāĻžāĻ— āĻ•āĻžāĻŸā§‡āĨ¤ āϤāĻŦ⧇, āĻ›āĻŦāĻŋāϟāĻŋ āĻ•āĻŋāϛ⧁ āϏāĻŽāĻžāϞ⧋āϚāύāĻžāϰ āϏāĻŽā§āĻŽā§āĻ–ā§€āύāĻ“ āĻšāϝāĻŧ⧇āĻ›āĻŋāϞāĨ¤ āĻ•āĻŋāϛ⧁ āĻĻāĻ°ā§āĻļāĻ• āĻŽāύ⧇ āĻ•āϰ⧇āĻ›āĻŋāϞ⧇āύ āϝ⧇, āĻ›āĻŦāĻŋāϰ āĻ•āĻŋāϛ⧁ āĻ…āĻ‚āĻļ⧇ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āϤāĻŋ āϧ⧀āϰ āĻ›āĻŋāϞ, āϝāĻž āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋāĻ• āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻžāϝāĻŧ āĻ•āĻŋāϛ⧁āϟāĻž āĻŦāĻžāϧāĻž āϏ⧃āĻˇā§āϟāĻŋ āĻ•āϰ⧇āĻ›āĻŋāϞāĨ¤ āĻŦāĻŋāĻļ⧇āώāϤ, āĻ›āĻŦāĻŋāϰ āĻĻā§āĻŦāĻŋāϤ⧀āϝāĻŧāĻžāĻ°ā§āϧ⧇ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āϤāĻŋ āĻ•āĻŋāϛ⧁āϟāĻž āĻŽāĻ¨ā§āĻĨāϰ āĻšāϝāĻŧ⧇ āĻĒāĻĄāĻŧ⧇, āϝāĻž āĻ•āĻŋāϛ⧁ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻ•āĻžāϛ⧇ āĻŦāĻŋāϰāĻ•ā§āϤāĻŋāĻ•āϰ āĻŽāύ⧇ āĻšāϤ⧇ āĻĒāĻžāϰ⧇āĨ¤ āϤāĻŦ⧇, āĻāχ āϧ⧀āϰāĻ—āϤāĻŋ āϏāĻ¤ā§āĻ¤ā§āĻŦ⧇āĻ“, āĻ›āĻŦāĻŋāϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āωāĻ¨ā§āύāϤāĻŋ āĻāϕ⧇ āĻāĻ•āϟāĻŋ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻāĻŦāĻ‚ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻĻā§āĻŦāĻžāϰāĻž āĻĒā§āϰāĻļāĻ‚āϏāĻŋāϤ āϏāĻŋāύ⧇āĻŽāĻž āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻŋāϤ āĻ•āϰ⧇āϛ⧇āĨ¤

      āĻŦāĻŋāĻļā§āĻŦāĻŦā§āϝāĻžāĻĒā§€ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚ āĻĒā§āĻ˛ā§āϝāĻžāϟāĻĢāĻ°ā§āĻŽā§‡ āĻ›āĻŦāĻŋāϰ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ, āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āĻĻ⧇āĻļ āĻĨ⧇āϕ⧇ āĻ›āĻŦāĻŋāϟāĻŋ āύāĻŋāϝāĻŧ⧇ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻĒāĻžāĻ“āϝāĻŧāĻž āϝāĻžāϝāĻŧāĨ¤ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āĻĻāĻ°ā§āĻļāĻ•āϰāĻž āĻ›āĻŦāĻŋāϰ āĻĨāĻŋāĻŽ āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋āϰ āĻĒā§āϰāϤāĻŋ āϤāĻžāĻĻ⧇āϰ āϏāĻ‚āĻŦ⧇āĻĻāύāĻļā§€āϞāϤāĻž āĻ“ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻžāϝāĻŧ āĻŽā§āĻ—ā§āϧ āĻšāύāĨ¤ āĻ›āĻŦāĻŋāϰ āĻĒā§āϰāĻžāϏāĻ™ā§āĻ—āĻŋāĻ•āϤāĻž āĻāĻŦāĻ‚ āĻŽāĻžāύāĻŦāĻŋāĻ•āϤāĻž āφāϧ⧁āύāĻŋāĻ• āϏāĻŽāĻžāĻœā§‡āϰ āϏāĻžāĻĨ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤ, āϝāĻž āĻāϕ⧇ āĻāĻ•āϟāĻŋ āφāĻ¨ā§āϤāσāĻĻ⧇āĻļā§€āϝāĻŧ āĻ¸ā§āϤāϰ⧇ āĻ—ā§āϰāĻšāĻŖāϝ⧋āĻ—ā§āϝ āĻ•āϰ⧇ āϤ⧋āϞ⧇āĨ¤

      āĻŽāĻžāχāϕ⧇āϞ āϕ⧇. āϰāĻžāϜāĻžāϰ āĻĒāϰāĻŋāϚāĻžāϞāĻŋāϤ āĻŽāĻžāύāĻŦāĻŋāĻ• āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ
      āĻŽāĻžāύāĻŦāĻŋāĻ• āφāĻŦ⧇āϗ⧇ āĻ­āϰāĻž āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽā§‡āϰ āĻ—āĻ˛ā§āĻĒāĨ¤

      āϏāĻŽāĻžāϞ⧋āϚāύāĻž āĻ“ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋāϝāĻŧāĻž

      āĻ›āĻŦāĻŋāϟāĻŋ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϏāĻ‚āĻŦāĻžāĻĻāĻĒāĻ¤ā§āϰ āĻāĻŦāĻ‚ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϏāĻŽāĻžāϞ⧋āϚāĻ•āϰāĻž āĻ›āĻŦāĻŋāϟāĻŋ āύāĻŋāϝāĻŧ⧇ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻŽāϤāĻžāĻŽāϤ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āύāĨ¤ āĻŦ⧇āĻļāĻŋāϰāĻ­āĻžāĻ— āϏāĻŽāĻžāϞ⧋āϚāĻ• āĻ›āĻŦāĻŋāϰ āĻ…āĻ­āĻŋāύāϝāĻŧ, āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻāĻŦāĻ‚ āĻĨāĻŋāĻŽā§‡āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āϤāĻŦ⧇, āĻ•āĻŋāϛ⧁ āĻ…āĻ‚āĻļ⧇ āϤāĻžāϰāĻž āĻ›āĻŦāĻŋāϰ āĻ—āϤāĻŋāϰ āĻŦā§āϝāĻžāĻĒāĻžāϰ⧇ āĻ•āĻŋāϛ⧁āϟāĻž āĻ…āϏāĻ¨ā§āϤ⧁āĻˇā§āϟāĻŋ āĻĒā§āϰāĻ•āĻžāĻļ āĻ•āϰ⧇āϛ⧇āύāĨ¤

      • āϏāĻŋāύ⧇āĻŽāĻž āĻāĻ•ā§āϏāĻĒā§āϰ⧇āϏ: āϏāĻŋāύ⧇āĻŽāĻž āĻāĻ•ā§āϏāĻĒā§āϰ⧇āϏ āĻ›āĻŦāĻŋāϟāĻŋāϰ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻžāϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇ āϞāĻŋāϖ⧇āĻ›āĻŋāϞ, “āĻ­āĻŋāĻŽāϞ āĻāĻŦāĻ‚ āĻ•āϰ⧁āĻŖāĻžāϏ⧇āϰ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ›āĻŦāĻŋāϟāĻŋāϕ⧇ āĻļāĻ•ā§āϤāĻŋāĻļāĻžāϞ⧀ āĻ•āϰ⧇āϛ⧇āĨ¤ āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋāϰ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž āĻ›āĻŦāĻŋāϟāĻŋāϕ⧇ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻ¸ā§āϤāϰ⧇ āύāĻŋāϝāĻŧ⧇ āϗ⧇āϛ⧇āĨ¤”
      • āϟāĻžāχāĻŽāϏ āĻ…āĻĢ āχāĻ¨ā§āĻĄāĻŋāϝāĻŧāĻž: āϟāĻžāχāĻŽāϏ āĻ…āĻĢ āχāĻ¨ā§āĻĄāĻŋāϝāĻŧāĻž āĻ›āĻŦāĻŋāϟāĻŋāϰ āĻŦāĻŋāώāϝāĻŧāĻŦāĻ¸ā§āϤ⧁ āĻāĻŦāĻ‚ āĻĨāĻŋāĻŽā§‡āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇ āĻ•āĻŋāĻ¨ā§āϤ⧁ āĻ›āĻŦāĻŋāϰ āĻ—āϤāĻŋ āύāĻŋāϝāĻŧ⧇ āĻ•āĻŋāϛ⧁ āϏāĻŽāĻžāϞ⧋āϚāύāĻž āĻ•āϰ⧇, “āĻ›āĻŦāĻŋāϟāĻŋ āĻŽāĻŋāĻļā§āϰ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻĒā§āϰāĻĻāĻžāύ āĻ•āϰ⧇, āϤāĻŦ⧇ āĻāϟāĻŋ āĻāĻ•āĻŦāĻžāϰ āĻĻ⧇āĻ–āĻžāϰ āĻŽāϤ⧋āĨ¤ āĻ•āĻŋāϛ⧁ āĻ•ā§āώ⧇āĻ¤ā§āϰ⧇ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻ—āϤāĻŋ āϧ⧀āϰ āĻŽāύ⧇ āĻšāϝāĻŧ⧇āϛ⧇, āϤāĻŦ⧇ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻĻāĻŋāĻ•āϗ⧁āϞāĻŋ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻŽāύ⧇ āĻĻā§€āĻ°ā§āϘāĻ¸ā§āĻĨāĻžāϝāĻŧā§€ āĻĒā§āϰāĻ­āĻžāĻŦ āĻĢ⧇āϞ⧇āĨ¤”

      āĻāĻ›āĻžāĻĄāĻŧāĻž, āĻ…āύ⧇āĻ• āĻĻāĻ°ā§āĻļāĻ• āϏāĻžāĻŽāĻžāϜāĻŋāĻ• āĻŽāĻŋāĻĄāĻŋāϝāĻŧāĻžāϤ⧇ āĻ›āĻŦāĻŋāϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻ•āϰ⧇āϛ⧇āύ, āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āĻ›āĻŦāĻŋāϰ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻ¤ā§āĻŦ āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻĻāĻŋāĻ•āϗ⧁āϞ⧋ āύāĻŋāϝāĻŧ⧇ āφāϞ⧋āϚāύāĻž āĻ•āϰ⧇āϛ⧇āύāĨ¤ āĻ…āύ⧇āϕ⧇āχ āĻ›āĻŦāĻŋāϰ āĻ—āĻ˛ā§āĻĒ⧇āϰ āĻĒā§āϰāϤāĻŋ āύāĻŋāĻœā§‡āĻĻ⧇āϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻāĻŦāĻ‚ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āĻļ⧇āϝāĻŧāĻžāϰ āĻ•āϰ⧇āϛ⧇āύ, āϝāĻž āĻ›āĻŦāĻŋāϰ āϜāύāĻĒā§āϰāĻŋāϝāĻŧāϤāĻž āĻŦāĻžāĻĄāĻŧāĻžāϤ⧇ āϏāĻšāĻžāϝāĻŧāĻ• āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

      āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻžāĻŽā§‚āϞāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻĨ⧇ āϏāĻ‚āϝ⧋āĻ—

      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āĻšāĻ“āϝāĻŧāĻžāϰ āĻ•āĻžāϰāϪ⧇ āĻāϟāĻŋ āĻĒ⧃āĻĨāĻŋāĻŦā§€āϜ⧁āĻĄāĻŧ⧇ āĻ…āĻ¨ā§āϝāĻžāĻ¨ā§āϝ āĻŦāĻŋāĻ–ā§āϝāĻžāϤ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽāϗ⧁āϞ⧋āϰ āϏāĻ™ā§āϗ⧇ āϤ⧁āϞāύāĻž āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻ¸ā§āĻĨāĻžāĻĒāύ āĻ•āϰ⧇āϛ⧇āĨ¤ āĻ›āĻŦāĻŋāϰ āĻĨāĻŋāĻŽ āĻāĻŦāĻ‚ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞ⧋āϰ āĻŽāĻ§ā§āϝ⧇ āϝ⧇ āĻ—āĻ­ā§€āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻŦā§āϝāĻ•ā§āϤāĻŋāĻ—āϤ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇, āϤāĻž āĻ•āĻŋāϛ⧁ āĻĒ⧁āϰāύ⧋ āĻāĻŦāĻ‚ āφāϧ⧁āύāĻŋāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āϏāĻžāĻĨ⧇ āĻŽāĻŋāϞ āϰāĻžāϖ⧇āĨ¤

      • “āĻĒāĻĨ⧇āϰ āĻĒāĻžāρāϚāĻžāϞ⧀” (⧧⧝ā§Ģā§Ģ): āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ⧇āϰ āĻāχ āĻ•āĻžāĻ˛ā§āĻĒāύāĻŋāĻ• āĻ•ā§āϞāĻžāϏāĻŋāĻ• āĻ›āĻŦāĻŋāϟāĻŋ āĻ­āĻžāϰāϤ⧇āϰ āĻ—ā§āϰāĻžāĻŽā§āϝ āĻœā§€āĻŦāύ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻāĻŦāĻ‚ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āωāĻĒāϰ āϕ⧇āĻ¨ā§āĻĻā§āϰāĻŋāϤāĨ¤ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āϕ⧁āĻŽāĻžāϰ āϚāϰāĻŋāĻ¤ā§āϰāϟāĻŋāϰ āĻŽāϤ⧋āχ, “āĻĒāĻĨ⧇āϰ āĻĒāĻžāρāϚāĻžāϞ⧀”-āĻāϰ āĻ…āĻĒ⧁ āϤāĻžāϰ āĻĒāϰāĻŋāĻŦāĻžāϰ āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āύāĻžāύāĻž āϏāĻŽāĻ¸ā§āϝāĻžāϝāĻŧ āϜāĻ°ā§āϜāϰāĻŋāϤāĨ¤ āĻĻ⧁āχ āĻ›āĻŦāĻŋāϤ⧇ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽāϕ⧇ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻāĻŦāĻ‚ āĻŦāĻžāĻ¸ā§āϤāĻŦāϏāĻŽā§āĻŽāϤāĻ­āĻžāĻŦ⧇ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤
      • “āĻŦāĻžāĻ—āĻŦāĻžāύ” (⧍ā§Ļā§Ļā§Š): āĻāϟāĻŋ āĻāĻ•āϟāĻŋ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āϏāĻŋāύ⧇āĻŽāĻž, āϝ⧇āĻ–āĻžāύ⧇ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻ­āĻžāϞāĻŦāĻžāϏāĻž āĻāĻŦāĻ‚ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āϕ⧁āĻŽāĻžāϰ āĻāĻŦāĻ‚ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻŽāĻ§ā§āϝ⧇āĻ“ āĻāχ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāϗ⧇āϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻ¸ā§āĻĒāĻˇā§āϟāĻ­āĻžāĻŦ⧇ āĻĢ⧁āĻŸā§‡ āωāϠ⧇āϛ⧇, āϝāĻž “āĻŦāĻžāĻ—āĻŦāĻžāύ”-āĻāϰ āϚāϰāĻŋāĻ¤ā§āϰāĻĻ⧇āϰ āĻŽāĻ§ā§āϝ⧇āĻ“ āĻĻ⧇āĻ–āĻž āϗ⧇āϛ⧇āĨ¤
      • “āϰ⧇āύ āĻŽā§āϝāĻžāύ” (ā§§ā§¯ā§Žā§Ž): āĻšāϞāĻŋāωāĻĄā§‡āϰ āĻāχ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽā§‡ āĻĻ⧁āχ āĻ­āĻŋāĻ¨ā§āύ āĻĒā§āϰāĻ•ā§ƒāϤāĻŋāϰ āĻŽāĻžāύ⧁āώ⧇āϰ āϝāĻžāĻ¤ā§āϰāĻžāϰ āĻ—āĻ˛ā§āĻĒ āĻŦāϞāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤ āĻāĻ•āχāĻ­āĻžāĻŦ⧇, “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āϕ⧁āĻŽāĻžāϰ āĻāĻŦāĻ‚ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϚāϰāĻŋāĻ¤ā§āϰāϗ⧁āϞāĻŋāϰ āĻŽāĻ§ā§āϝ⧇ āĻāĻ•āĻžāϧāĻŋāĻ• āĻĒāĻžāĻ°ā§āĻĨāĻ•ā§āϝ āĻĨāĻžāĻ•āĻž āϏāĻ¤ā§āĻ¤ā§āĻŦ⧇āĻ“, āϤāĻžāĻĻ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āϝāĻžāĻ¤ā§āϰāĻž āĻāĻ•āϟāĻŋ āĻ…āĻĻā§āϭ⧁āϤ āϧāϰāύ⧇āϰ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āωāĻĻāĻžāĻšāϰāĻŖ āϤ⧈āϰāĻŋ āĻ•āϰ⧇āĨ¤
      • “āϏāĻžāϞāĻžāĻŽ āĻŦāĻŽā§āĻŦ⧇!” (ā§§ā§¯ā§Žā§Ž): āĻŽā§€āϰāĻž āύāĻžāϝāĻŧ⧇āϰ⧇āϰ āĻāχ āĻ›āĻŦāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻ•āĻ āĻŋāύ āĻŦāĻžāĻ¸ā§āϤāĻŦāϤāĻž āĻāĻŦāĻ‚ āĻŽāĻžāύ⧁āώ⧇āϰ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽāϕ⧇ āϤ⧁āϞ⧇ āϧāϰ⧇āĨ¤ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āĻŽāϤ⧋, āĻāϟāĻŋ āϏāĻŽāĻžāĻœā§‡āϰ āĻŽāĻ§ā§āϝ⧇ āĻĨāĻžāĻ•āĻž āĻ…āĻŦāĻšā§‡āϞāĻŋāϤ āĻāĻŦāĻ‚ āĻĻ⧁āσāĻ–ā§€ āĻŽāĻžāύ⧁āώ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽ āĻāĻŦāĻ‚ āĻšā§āϝāĻžāϞ⧇āĻžā§āĻœā§‡āϰ āωāĻĒāϰ āφāϞ⧋āĻ•āĻĒāĻžāϤ āĻ•āϰ⧇āϛ⧇āĨ¤
      • “āϕ⧋āĻŽāϞ āĻ—āĻžāĻ¨ā§āϧāĻžāϰ” (⧧⧝ā§Ŧā§§): āĻ‹āĻ¤ā§āĻŦāĻŋāĻ• āϘāϟāϕ⧇āϰ āĻāχ āĻ›āĻŦāĻŋāϟāĻŋ āϏāĻŽāĻžāĻœā§‡āϰ āĻĒā§āϰāϤāĻŋ āĻŽāĻžāύ⧁āώ⧇āϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āφāĻŦ⧇āĻ—āϕ⧇ āϕ⧇āĻ¨ā§āĻĻā§āϰ āĻ•āϰ⧇ āύāĻŋāĻ°ā§āĻŽāĻŋāϤāĨ¤ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻž āĻāĻŦāĻ‚ āϤāĻžāϰ āφāĻŦ⧇āĻ— āĻ•āĻŋāϛ⧁āϟāĻž “āϕ⧋āĻŽāϞ āĻ—āĻžāĻ¨ā§āϧāĻžāϰ”-āĻāϰ āϏāĻ™ā§āϗ⧇ āĻŽāĻŋāϞ āϰ⧇āϖ⧇ āϚāϞ⧇āĨ¤

      āĻāĻ›āĻžāĻĄāĻŧāĻžāĻ“, āĻ›āĻŦāĻŋāϟāĻŋ āĻāĻ•āĻžāϧāĻŋāĻ• āĻĻ⧇āĻļā§€āϝāĻŧ āĻāĻŦāĻ‚ āφāĻ¨ā§āϤāĻ°ā§āϜāĻžāϤāĻŋāĻ• āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ⧇āϰ āĻ…āύ⧁āĻĒā§āϰ⧇āϰāĻŖāĻž āĻšāĻŋāϏ⧇āĻŦ⧇ āĻ•āĻžāϜ āĻ•āϰ⧇āϛ⧇, āϝ⧇āĻ–āĻžāύ⧇ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āĻŦāĻž āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āφāĻŦ⧇āĻ— āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϗ⧁āϰ⧁āĻ¤ā§āĻŦ āϤ⧁āϞ⧇ āϧāϰāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

      āĻ­āĻŋāĻŽāϞ āĻāĻŦāĻ‚ āĻ•āϰ⧁āĻŖāĻžāϏ āĻ…āĻ­āĻŋāύ⧀āϤ āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āϏāĻŋāύ⧇āĻŽāĻž
      āĻāĻ•āϟāĻŋ āϏāĻŋāύ⧇āĻŽāĻž āϝāĻž āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āφāϏāϞ āϰ⧂āĻĒ āĻĻ⧇āĻ–āĻžāϝāĻŧāĨ¤

      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ”-āĻāϰ āĻŽāϤ⧋ āφāϰāĻ“ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ, āϝ⧇āĻ–āĻžāύ⧇ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āĻŦāĻž āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āφāĻŦ⧇āĻ— āĻ“ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽā§‡āϰ āĻĨāĻŋāĻŽ āĻĢ⧁āĻŸā§‡ āωāϠ⧇āϛ⧇:

      “āĻĒāĻžāϝāĻŧāĻž” (⧍ā§Ļā§§ā§Ļ):
      āĻāĻ•āϟāĻŋ āϤāĻžāĻŽāĻŋāϞ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ, āϝ⧇āĻ–āĻžāύ⧇ āĻĻ⧁āχ āĻ­āĻŋāĻ¨ā§āύ āϚāϰāĻŋāĻ¤ā§āϰ⧇āϰ āĻ­ā§āϰāĻŽāĻŖ āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āϘāϟāĻžāϝāĻŧāĨ¤ āĻĨā§āϰāĻŋāϞ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻāĻŦāĻ‚ āφāĻŦ⧇āϗ⧇āϰ āĻŽāĻŋāĻļā§āϰāϪ⧇ āϤ⧈āϰāĻŋ āĻāχ āĻ›āĻŦāĻŋ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽâ€Ļ”-āĻāϰ āĻŽāϤ⧋āχāĨ¤

      “āϜāĻŋāĻ¨ā§āĻĻ⧇āĻ—āĻŋ āύāĻž āĻŽāĻŋāϞ⧇āĻ—āĻŋ āĻĻā§‹āĻŦāĻžāϰāĻž” (⧍ā§Ļā§§ā§§):
      āĻāχ āĻŦāϞāĻŋāωāĻĄ āĻĢāĻŋāĻ˛ā§āĻŽā§‡ āϤāĻŋāύ āĻŦāĻ¨ā§āϧ⧁āϰ āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻŸā§āϰāĻŋāĻĒ āĻĻ⧇āĻ–āĻžāύ⧋ āĻšāϝāĻŧ⧇āϛ⧇, āϝāĻž āϤāĻžāĻĻ⧇āϰ āĻœā§€āĻŦāύāϕ⧇ āύāϤ⧁āύāĻ­āĻžāĻŦ⧇ āωāĻĒāϞāĻŦā§āϧāĻŋ āĻ•āϰāϤ⧇ āĻļ⧇āĻ–āĻžāϝāĻŧāĨ¤ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻ“ āφāĻŦ⧇āϗ⧇āϰ āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻ›āĻŦāĻŋāϟāĻŋ āĻāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏāĻžāĻĨ⧇āĻ“ āϏāĻžāĻĻ⧃āĻļā§āϝāĻĒā§‚āĻ°ā§āĻŖāĨ¤

      “āϏāĻĄāĻŧāĻ•” (⧧⧝⧝⧧):
      āĻāĻ•āϟāĻŋ āĻŸā§āϝāĻžāĻ•ā§āϏāĻŋ āĻĄā§āϰāĻžāχāĻ­āĻžāϰ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϏāĻ‚āĻ—ā§āϰāĻžāĻŽ āĻāĻŦāĻ‚ āϤāĻžāϰ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻ—āĻ˛ā§āĻĒ āύāĻŋā§Ÿā§‡ āϤ⧈āϰāĻŋ āĻāχ āĻĢāĻŋāĻ˛ā§āĻŽā§‡ āĻŽāĻžāύāĻŦāĻŋāĻ• āφāĻŦ⧇āĻ— āĻ“ āϏāĻŽā§āĻĒāĻ°ā§āĻ•āϕ⧇ āĻĒā§āϰāĻžāϧāĻžāĻ¨ā§āϝ āĻĻ⧇āĻ“āϝāĻŧāĻž āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

      “āĻ—ā§āϝāĻžāĻ­āĻŋ āϚāĻŋāĻ¨ā§āύ⧁āĻĄā§” (⧍ā§Ļā§Ļā§Ž):
      āϤ⧇āϞ⧇āϗ⧁ āĻ­āĻžāώāĻžāϰ āĻāχ āĻĢāĻŋāĻ˛ā§āĻŽā§‡ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āĻŦāĻ¨ā§āϧāύ āĻāĻŦāĻ‚ āϝāĻžāĻ¤ā§āϰāĻžāϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āĻœā§€āĻŦāύ⧇āϰ āĻĒāϰāĻŋāĻŦāĻ°ā§āϤāύ āĻĢ⧁āĻŸā§‡ āωāϠ⧇āϛ⧇, āϝāĻž “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽâ€Ļ”-āĻāϰ āĻĨāĻŋāĻŽā§‡āϰ āϏāĻžāĻĨ⧇ āĻŽāĻŋāϞ⧇ āϝāĻžāϝāĻŧāĨ¤

      “āĻĻā§āϝ āĻĒāĻžāϏāĻŋāĻ‚ āĻŦ⧇āϞ” (⧍ā§Ļ⧧⧝):
      āĻāĻ•āϟāĻŋ āχāĻ‚āϰ⧇āϜāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ, āϝ⧇āĻ–āĻžāύ⧇ āĻĻ⧁āϟāĻŋ āϚāϰāĻŋāĻ¤ā§āϰ āϤāĻžāĻĻ⧇āϰ āĻ­ā§āϰāĻŽāϪ⧇āϰ āĻŽāĻ§ā§āϝ āĻĻāĻŋāϝāĻŧ⧇ āĻœā§€āĻŦāύ⧇āϰ āĻ…āĻ°ā§āĻĨ āϖ⧁āρāĻœā§‡ āĻĒāĻžāϝāĻŧāĨ¤ āĻĒāĻžāϰāĻ¸ā§āĻĒāϰāĻŋāĻ• āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻ“ āĻ¤ā§āϝāĻžāϗ⧇āϰ āĻĻāĻŋāĻ• āĻĨ⧇āϕ⧇ āĻ›āĻŦāĻŋāϟāĻŋ āĻ…āύ⧁āϰ⧂āĻĒāĨ¤

      āĻāϗ⧁āϞ⧋ āĻ›āĻžāĻĄāĻŧāĻžāĻ“, āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āĻŦāĻž āφāĻŦ⧇āĻ—āϘāύ āĻĒāĻžāϰāĻŋāĻŦāĻžāϰāĻŋāĻ• āĻ—āĻ˛ā§āĻĒ āĻĒāĻ›āĻ¨ā§āĻĻ āĻ•āϰāϞ⧇ āφāĻĒāύāĻŋ “āĻ­ā§€āϰ-āϜāĻžāϰāĻž” (⧍ā§Ļā§Ļā§Ē) āĻŦāĻž “āĻ•āϰ⧁” (⧍ā§Ļā§§ā§Ž) āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ⧇āύāĨ¤ āĻāϗ⧁āϞ⧋āĻ“ āφāĻĒāύāĻžāϕ⧇ āĻāĻ•āχ āϧāϰāϪ⧇āϰ āĻ…āύ⧁āĻ­ā§‚āϤāĻŋ āĻĻ⧇āĻŦ⧇āĨ¤

      āĻŦāĻŋāĻļ⧇āώ āĻĻāĻŋāĻ•:
      āĻĨāĻŋāĻŽ: āĻāϟāĻŋ āĻļ⧁āϧ⧁āĻŽāĻžāĻ¤ā§āϰ āĻāĻ•āϟāĻŋ āϰ⧋āĻĄ āĻĢāĻŋāĻ˛ā§āĻŽ āύāϝāĻŧ, āĻŦāϰāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāĻ•ā§ƒāϤ āĻ…āĻ°ā§āĻĨ āĻāĻŦāĻ‚ āĻŽāĻžāύāĻŦāĻŋāĻ• āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻāĻ•āϟāĻŋ āĻ—āĻ­ā§€āϰ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύāĨ¤
      āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ āĻ“ āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāĻ—: āϕ⧁āĻŽāĻžāϰ āĻ“ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϏāĻŽā§āĻĒāĻ°ā§āĻ• āφāĻŽāĻžāĻĻ⧇āϰ āĻĒ⧁āϰāύ⧋ āϏāĻŋāύ⧇āĻŽāĻžāϰ āϏ⧇āχ āĻ…āϏāĻžāϧāĻžāϰāĻŖ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ⧇āϰ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋ āĻŽāύ⧇ āĻ•āϰāĻŋāϝāĻŧ⧇ āĻĻ⧇āϝāĻŧāĨ¤
      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻĻ⧇āĻ–āϤ⧇ āĻ—āĻŋāϝāĻŧ⧇ āĻ…āύ⧇āĻ• āĻĻāĻ°ā§āĻļāĻ• āĻĒ⧁āϰāύ⧋ āĻĻāĻŋāύ⧇āϰ āϏ⧇āχ āφāĻŦ⧇āĻ—āϘāύ āĻ—āĻ˛ā§āĻĒāϗ⧁āϞ⧋āϕ⧇ āύāϤ⧁āύ āφāĻ™ā§āĻ—āĻŋāϕ⧇ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāϤ⧇ āĻĒāĻžāϰāĻŦ⧇āύāĨ¤

      āωāĻĒāϏāĻ‚āĻšāĻžāϰ

      “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻāĻŦāĻ‚ āφāĻŦ⧇āĻ—āϘāύ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϝāĻž āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āĻœā§€āĻŦāύ⧇āϰ āϏāĻ¤ā§āϝāĻŋāĻ•āĻžāϰ⧇āϰ āĻ…āĻ°ā§āĻĨ āĻāĻŦāĻ‚ āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āϚāĻŋāĻ¨ā§āϤāĻž āĻ•āϰāϤ⧇ āĻŦāĻžāĻ§ā§āϝ āĻ•āϰ⧇āĨ¤ āĻ›āĻŦāĻŋāϰ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻĨāĻŋāĻŽ, āĻ…āĻ­āĻŋāύāϝāĻŧ āĻāĻŦāĻ‚ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻāϟāĻŋāϕ⧇ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āĻ¸ā§āĻĨāĻžāύ āĻĻāĻŋāϝāĻŧ⧇āϛ⧇ āϤāĻžāĻŽāĻŋāϞ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āϜāĻ—āϤ⧇āĨ¤ āĻŽā§āĻ•ā§āϤāĻŋāϰ āĻĒāϰ āϏāĻŽāĻžāϞ⧋āϚāĻ•āĻĻ⧇āϰ āĻĒā§āϰāĻļāĻ‚āϏāĻž āĻāĻŦāĻ‚ āĻĻāĻ°ā§āĻļāĻ•āĻĻ⧇āϰ āχāϤāĻŋāĻŦāĻžāϚāĻ• āĻĒā§āϰāϤāĻŋāĻ•ā§āϰāĻŋāϝāĻŧāĻž āĻ›āĻŦāĻŋāϰ āϏāĻžāĻĢāĻ˛ā§āϝ āĻāĻŦāĻ‚ āϜāύāĻĒā§āϰāĻŋāϝāĻŧāϤāĻžāϰ āĻĒā§āϰāĻŽāĻžāĻŖāĨ¤ āϝāĻžāϰāĻž āĻĒāϰāĻŋāĻŦāĻžāϰ, āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āφāĻŦ⧇āĻ—āϘāύ āĻ—āĻ˛ā§āĻĒ āĻĒāĻ›āĻ¨ā§āĻĻ āĻ•āϰ⧇āύ, āϤāĻžāĻĻ⧇āϰ āϜāĻ¨ā§āϝ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻāĻ•āϟāĻŋ āĻ…āĻŽā§‚āĻ˛ā§āϝ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰ āĻšāĻŋāϏ⧇āĻŦ⧇ āĻĒā§āϰāϤāĻŋāĻˇā§āĻ āĻŋāϤ āĻšāϝāĻŧ⧇āϛ⧇āĨ¤

      āϝāĻĻāĻŋ āφāĻĒāύāĻŋ āĻœā§€āĻŦāύ, āϏāĻŽā§āĻĒāĻ°ā§āĻ• āĻāĻŦāĻ‚ āĻŽāĻžāύāĻŦāĻŋāĻ• āφāĻŦ⧇āϗ⧇āϰ āĻ—āĻ­ā§€āϰāϤāĻž āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇ āφāϰ⧋ āĻ•āĻŋāϛ⧁ āϜāĻžāύāϤ⧇ āϚāĻžāύ, āϤāĻŦ⧇ “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āĻĻ⧇āĻ–āϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻžāĨ¤ āĻāϟāĻŋ āφāĻĒāύāĻžāϕ⧇ āĻāĻ•āϟāĻŋ āĻŦāĻŋāĻļ⧇āώ āϝāĻžāĻ¤ā§āϰāĻžāϝāĻŧ āύāĻŋāϝāĻŧ⧇ āϝāĻžāĻŦ⧇ āϝ⧇āĻ–āĻžāύ⧇ āφāĻĒāύāĻŋ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāĻ— āĻāĻŦāĻ‚ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻĒā§āϰāĻ•ā§ƒāϤ āĻ…āĻ°ā§āĻĨ āĻ…āύ⧁āĻ­āĻŦ āĻ•āϰāĻŦ⧇āύāĨ¤ āĻāĻ–āύāχ āφāĻĒāύāĻžāϰ āĻĒā§āϰāĻŋāϝāĻŧ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚ āĻĒā§āĻ˛ā§āϝāĻžāϟāĻĢāĻ°ā§āĻŽā§‡ āĻ›āĻŦāĻŋāϟāĻŋ āĻĻ⧇āϖ⧁āύ āĻāĻŦāĻ‚ āĻāĻ•āϟāĻŋ āĻšā§ƒāĻĻāϝāĻŧāĻ¸ā§āĻĒāĻ°ā§āĻļā§€ āĻ…āĻ­āĻŋāĻœā§āĻžāϤāĻž āϞāĻžāĻ­ āĻ•āϰ⧁āύāĨ¤ āĻāĻ›āĻžāĻĄāĻŧāĻžāĻ“, āφāĻŽāĻžāĻĻ⧇āϰ YouTube āĻšā§āϝāĻžāύ⧇āϞ⧇ āĻĒ⧁āϰ⧋ āĻŽā§āĻ­āĻŋāϰ āĻŦāĻŋāĻļā§āϞ⧇āώāĻŖ āĻĻ⧇āĻ–āϤ⧇ āĻĒāĻžāϰ⧇āύāĨ¤ āϚāĻžāχāϞ⧇ āĻāĻ•āĻŦāĻžāϰ āĻĻ⧇āϖ⧇ āύāĻŋāύ āĻāĻŦāĻ‚ āφāĻŽāĻžāĻĻ⧇āϰ āĻšā§āϝāĻžāύ⧇āϞāϟāĻŋāϤ⧇ āϏāĻžāĻŦāĻ¸ā§āĻ•ā§āϰāĻžāχāĻŦ āĻ•āϰāϤ⧇ āϭ⧁āϞāĻŦ⧇āύ āύāĻž!


      ā§ĢāϟāĻŋ āϜāύāĻĒā§āϰāĻŋāϝāĻŧ FAQs (Frequently Asked Questions) “āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ” āϏāĻŽā§āĻĒāĻ°ā§āĻ•āĻŋāϤ:


      ā§§. āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ āϏāĻŋāύ⧇āĻŽāĻžāϰ āĻ—āĻ˛ā§āĻĒ āϕ⧀ āύāĻŋāϝāĻŧ⧇?
      āωāĻ¤ā§āϤāϰ: āĻ›āĻŦāĻŋāϟāĻŋāϰ āĻ—āĻ˛ā§āĻĒ āĻā§āϝāĻžāĻŽā§āĻŦ⧁āϞ⧇āĻ¨ā§āϏ āĻĄā§āϰāĻžāχāĻ­āĻžāϰ⧇āϰ āĻœā§€āĻŦāύ āϘāĻŋāϰ⧇ āĻāĻŦāĻ‚ āϤāĻžāϰ āϏāĻ™ā§āĻ—ā§€ āĻŽā§‚āĻ°ā§āϤāĻŋāϰ āϝāĻžāĻ¤ā§āϰāĻž āϘāĻŋāϰ⧇, āϝ⧇āĻ–āĻžāύ⧇ āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāĻ— āĻāĻŦāĻ‚ āĻœā§€āĻŦāύ⧇āϰ āĻ—āĻ­ā§€āϰ āĻŦāĻžāĻ°ā§āϤāĻž āĻĢ⧁āĻŸā§‡ āωāϠ⧇āϛ⧇āĨ¤

      ⧍. āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ-āĻāϰ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āϕ⧇?
      āωāĻ¤ā§āϤāϰ: āĻāχ āϚāϞāĻšā§āϚāĻŋāĻ¤ā§āϰāϟāĻŋ āĻĒāϰāĻŋāϚāĻžāϞāύāĻž āĻ•āϰ⧇āϛ⧇āύ āĻŽāĻžāχāϕ⧇āϞ āϕ⧇. āϰāĻžāϜāĻž, āϝāĻŋāύāĻŋ āĻŽāĻžāύāĻŦāĻŋāĻ• āĻĨāĻŋāĻŽ āĻāĻŦāĻ‚ āĻ—āĻ­ā§€āϰ āĻ—āĻ˛ā§āĻĒ⧇āϰ āϜāĻ¨ā§āϝ āĻĒāϰāĻŋāϚāĻŋāϤāĨ¤

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      āωāĻ¤ā§āϤāϰ: āĻ›āĻŦāĻŋāϟāĻŋ āĻĨāĻŋāϝāĻŧ⧇āϟāĻžāϰ⧇ āĻŽā§āĻ•ā§āϤāĻŋ āĻĒāĻžāϝāĻŧ ā§¨ā§Š āφāĻ—āĻ¸ā§āϟ ⧍ā§Ļ⧍ā§Ē āϏāĻžāϞ⧇ āĻāĻŦāĻ‚ ā§Ž āĻ…āĻ•ā§āĻŸā§‹āĻŦāϰ ⧍ā§Ļ⧍ā§Ē āĻĨ⧇āϕ⧇ āĻĒā§āϰāĻžāχāĻŽ āĻ­āĻŋāĻĄāĻŋāĻ“āϤ⧇ āĻ¸ā§āĻŸā§āϰāĻŋāĻŽāĻŋāĻ‚ āĻļ⧁āϰ⧁ āĻšāϝāĻŧāĨ¤

      ā§Ē. āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ āĻ›āĻŦāĻŋāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āϕ⧇ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇āύ?
      āωāĻ¤ā§āϤāϰ: āĻ›āĻŦāĻŋāϰ āĻĒā§āϰāϧāĻžāύ āϚāϰāĻŋāĻ¤ā§āϰ⧇ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ•āϰ⧇āϛ⧇āύ āĻ­āĻŋāĻŽāϞ (āϕ⧁āĻŽāĻžāϰ) āĻāĻŦāĻ‚ āĻ•āϰ⧁āĻŖāĻžāϏ (āύāϞāĻŋāύāĻžāĻŽā§‚āĻ°ā§āϤāĻŋ)āĨ¤ āϤāĻžāĻĻ⧇āϰ āĻ…āύāĻŦāĻĻā§āϝ āĻ…āĻ­āĻŋāύāϝāĻŧ āĻ›āĻŦāĻŋāϟāĻŋāϕ⧇ āĻŦāĻŋāĻļ⧇āώ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āĨ¤

      ā§Ģ. āĻĒā§‹āϗ⧁āĻŽāĻŋāĻĻāĻžāĻŽ āϭ⧇āϗ⧁ āĻĨ⧁āϰāĻžāĻŽāĻŋāĻ˛ā§āϞāĻžāχ āϏāĻŋāύ⧇āĻŽāĻžāϟāĻŋ āϕ⧀ āϧāϰāύ⧇āϰ āĻŦāĻžāĻ°ā§āϤāĻž āĻĻ⧇āϝāĻŧ?
      āωāĻ¤ā§āϤāϰ: āĻāχ āϏāĻŋāύ⧇āĻŽāĻž āĻŦāĻ¨ā§āϧ⧁āĻ¤ā§āĻŦ, āφāĻ¤ā§āĻŽāĻ¤ā§āϝāĻžāĻ—, āĻāĻŦāĻ‚ āĻĒāϰāĻŋāĻŦāĻžāϰ⧇āϰ āĻĒā§āϰāϤāĻŋ āĻ­āĻžāϞ⧋āĻŦāĻžāϏāĻžāϰ āĻ—āĻ­ā§€āϰ āĻŦāĻžāĻ°ā§āϤāĻž āĻĻ⧇āϝāĻŧāĨ¤ āĻāϟāĻŋ āĻœā§€āĻŦāύ⧇āϰ āĻĒā§āϰāĻ•ā§ƒāϤ āĻ…āĻ°ā§āĻĨ āĻ…āύ⧁āϏāĻ¨ā§āϧāĻžāύ⧇āϰ āĻāĻ•āϟāĻŋ āĻ…āύāĻ¨ā§āϝ āĻĒā§āϰāĻšā§‡āĻˇā§āϟāĻžāĨ¤

      āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āύ āϏāĻžāχāĻŸā§‡āϰ āϰ⧇āϟāĻŋāĻ‚āσ IMDb: ā§­.ā§Ŧ/ā§§ā§Ļ, amazon prime video: ā§­.ā§Ŧ/ā§§ā§Ļ, Times of India: ⧍.ā§Ģ/ā§Ģ

      Oppenheimer 2023 Movie Review By Joymahidul & FAQs

      Oppenheimer Movie Review: A Grand Narrative of Vision and Morality

      Why Oppenheimer Is 2023’s Most Groundbreaking Biopic, Exploring the Atomic Era Through J. Robert Oppenheimer’s Story

      Connecting Epic Storytelling with The Godfather, From Visionary Dreams to Nuclear Nightmares: Oppenheimer Redefines Epic Cinema!

      Introduction

      Christopher Nolan’s Oppenheimer (2023) is not just a film. It deeply explores ambition. It examines right and wrong. Additionally, it addresses the fallout from scientific breakthroughs. This biographical drama tells the story of J. Robert Oppenheimer, a man who changed warfare and became a very controversial figure in history. Nolan uses a unique storytelling method in Oppenheimer. The film goes beyond typical biopics. It mixes strong emotions and real history. This captivating narrative keeps viewers interested from beginning to end.

      Set during World War II and the Manhattan Project, Oppenheimer shows an important time in history. But it goes further; the movie explores the personal struggles, job rivalries, and moral challenges of its main character. The worldwide effects of the atomic bomb mixed with Oppenheimer’s inner battles form a compelling storyline. This storyline creates a powerful viewing experience. It connects deeply with audiences.

      Oppenheimer is a lot like Francis Ford Coppola’s The Godfather (1972) in some ways. One movie shows a crime family gaining power, while the other talks about making a weapon that changes humanity. Both films look at the price of power, the burden of leadership, and the tough choices people make.

      If you like movies that think outside the box, Oppenheimer will stick with you. It’s more than just a movie; it sparks discussions about the human mind and the choices that shape history. Let’s break down this great film, looking at its cast, characters, themes, and links to The Godfather.

      Character Dynamics

      One strong point of Oppenheimer is its great cast, led by Cillian Murphy as the main character. Murphy’s change into the complex, guilt-filled scientist feels very real.

      • Cillian Murphy as J. Robert Oppenheimer: A dreamer stuck because of what he made. His struggle and loneliness are like Michael Corleone’s story in The Godfather.
      • Emily Blunt as Katherine Oppenheimer: A smart wife who helps Oppenheimer deal with his feelings.
      • Robert Downey Jr. as Lewis Strauss: A political rival whose conflict adds tension to the story.
      • Matt Damon as General Leslie Groves: The practical soldier who adds urgency and realism to the Manhattan Project.

      The supporting actors, like Florence Pugh and Benny Safdie, make the story richer, so every character seems important.

      Plot Summary

      Christopher Nolan’s Oppenheimer tells a complex story uniquely, using three connected timelines to show J. Robert Oppenheimer’s life and impact. These timelines cover his early work as a physicist. They highlight his role in the Manhattan Project. They also show the serious personal and political effects of making the atomic bomb.

      1. The Rise of a Visionary Physicist
        The story begins with Oppenheimer’s school years. It shows his smarts and the challenges he faced early on. From being a student in Europe to making important discoveries in quantum mechanics, Oppenheimer becomes a key figure in science. He leads the Manhattan Project because of his charm and intelligence. His forward-thinking and talent for motivating the best minds of his time were also crucial.
      2. The Manhattan Project and the Creation of the Atomic Bomb
        The film mainly focuses on the Manhattan Project. This was a secret wartime effort to create nuclear weapons. The film is set in Los Alamos, New Mexico. It shows the race against time. Oppenheimer and his team work hard to build the first atomic bomb. The tension is clear as scientific discoveries meet ethical issues and personal sacrifices.

      The Trinity Test was the first explosion of a nuclear bomb and is the main focus of the film. Nolan portrays this event with great energy. He uses stunning images and eerie sounds. These elements express both the wonder and fear of this huge moment. The test was a win for science. It hints at the destruction ahead. The event places a heavy weight of responsibility on Oppenheimer.

      1. The Fallout: Personal and Political Repercussions
        The last part examines the aftermath of the atomic bombings. It focuses on Hiroshima and Nagasaki. Oppenheimer, who was once a national hero, becomes a controversial figure as people question the ethics of his work. The film shows his difficult relationships with coworkers. It also depicts political betrayal. Additionally, it illustrates how he was publicly attacked during the famous security hearings of the 1950s.

      These scenes show Oppenheimer’s inner struggle as he deals with guilt and doubts about what he did. Nolan uses this time to show the price of power and how fragile a legacy can be. These themes connect closely to those in The Godfather. Michael Corleone faces the results of his decisions. He also deals with the betrayal of friends. Similarly, Oppenheimer confronts the decline of his beliefs and the loss of his once-respected position.


      Echoes of The Godfather
      The themes of success and failure in Oppenheimer are similar. They reflect the moral challenges faced by the Corleone family in The Godfather. Both tales examine the impact of ambition and the burden of leadership. Vito Corleone gains power. Meanwhile, Michael struggles with moral choices. This is similar to Oppenheimer’s path—from a celebrated genius to a man burdened by his invention’s legacy. Both characters are influenced by their surroundings and choices, leaving them to wonder if their sacrifices were worth it.

      Nolan tells the story in a non-linear way, which adds value to the themes. This lets the audience see Oppenheimer’s life events as parts of a bigger picture. Similarly, Coppola’s story shows the complexities of the Corleone family.

      Cillian Murphy as J. Robert Oppenheimer in Christopher Nolan's 2023 historical drama.
      Cillian Murphy delivers a powerhouse performance in Christopher Nolan’s Oppenheimer. #joymahidul

      Full Movie Explanation and Recap of the Ending

      Oppenheimer opens with a young physicist grappling with theoretical physics and ends with a man haunted by his legacy.

      Part 1: The Visionary Scientist
      Oppenheimer’s early days highlight his smart thinking. They also demonstrate his ability to gather top experts for the Manhattan Project. However, his intelligence negatively affects his personal life. This is evident in his relationship with his wife, Katherine, and his affair with Jean Tatlock (Florence Pugh).

      Part 2: The Manhattan Project
      The main part of the film is the Trinity Test. It shows amazing visuals and a quiet tension that highlight how important this moment is. The test’s success is shown alongside the understanding of its dangerous power, hinting at Oppenheimer’s inner conflict.

      Part 3: The Fallout
      The last part looks at Oppenheimer’s life after the war. He becomes a controversial person during the Red Scare. Strauss leads a plot to make him look bad, ending in a stressful hearing that takes away Oppenheimer’s dignity.

      The final scene focuses on Oppenheimer’s haunting statement: “We changed the worldâ€Ļ but at what price?”

      Exciting News, Budget, and Hype

      • Budget and Income: Oppenheimer had a production budget of $100 million and earned over $900 million around the world. It was a big success both financially and critically.
      • Critical Reception: Many people liked the film. However, some critics thought it was too complicated. This reaction was similar to how people responded to The Godfather at first.
      • Hype: The ‘Barbenheimer’ trend—releasing Oppenheimer with Barbie—turned into a cultural event, leading to big box-office success.

      My Rating and Top Review Sites

      • My Rating: 9.5/10 – A cinematic masterpiece that combines intellect with emotional depth.
      • Rotten Tomatoes: 94%
      • IMDb: 8.6/10
      • Metacritic: 90/100

      Conclusion and Recommendations

      Oppenheimer is more than a movie; it’s an experience. With amazing visuals, great acting, and deep themes, it deserves to be called one of the best films today.

      If you’re intrigued by epic storytelling, explore my review of The Godfather here. Both films show big stories and moral questions, making them must-see movies for film fans.

      Watch Oppenheimer today and share your thoughts in the comments below!


      FAQs About Oppenheimer

      1. What is Oppenheimer about?
        It’s a biographical movie about J. Robert Oppenheimer, who created the atomic bomb, and his moral challenges.
      2. How historically accurate is Oppenheimer?
        The movie is based on real events but makes them more dramatic for entertainment.
      3. What makes Oppenheimer special?
        It combines important history, deep feelings, and great skill.
      4. Is Oppenheimer suitable for all audiences?
        It has serious themes and a slow pace, so it’s better for people who like deep, thoughtful movies.
      5. Why must I watch Oppenheimer?
        It’s a beautiful and thought-provoking look at ambition and its effects.

      Want more FAQs? Click here for a detailed FAQ page.


      Epic Storytelling: Connecting The Godfather and Oppenheimer

      Both movies are great examples of epic storytelling. The Godfather shows the rise and fall of the Corleone family. Oppenheimer examines the making and effects of the atomic bomb. The parallels lie in their:

      • Examining power and what it leads to.
      • Both characters, Michael Corleone and J. Robert Oppenheimer have big flaws and complicated morals.
      • Deep stories that mix personal meaning with important history. more info….

      Read my full The Godfather review here.

      A Great Divide (2023) Movie Review By Joymahidul & FAQs

      An Emotional Journey Through Xenophobia and Personal Growth in Rural Wyoming – A Must-Watch for Every Movie Lover

      A Great Divide (2023) – A Powerful Drama on Racism, Family, and Redemption You Can’t-Miss

      A Great Divide featuring a Korean American family navigating racism and xenophobia in rural Wyoming.

      Introduction

      A Great Divide (2023) is an exciting and touching film. It shows the problems of racism, family challenges, and personal growth. The movie addresses fear of outsiders and family pressure. It also tells the immigrant story. The film connects well with viewers, especially those who relate to the struggles of Asian Americans. Its strong story and acting make it a must-watch for anyone into dramas about identity and belonging. In this review, we will discuss the film’s plot, relationships, and important message. By looking at the story, acting, and its impact, you’ll see why A Great Divide is a film to see. Whether you enjoy independent films or thought-provoking stories, this review will highlight what makes this film so impactful.


      Character Dynamics and Cast

      A Great Divide is shaped by its strong, detailed characters, who all add to the film’s emotional depth.

      1. Ken Jeong plays Isaac Lee. He is usually known for comedy, but in this film, he takes on a serious role. As Isaac Lee, he is a father wanting to start over in rural Wyoming. Jeong shows Isaac as a man trying to stay calm and adjust to the challenges of their new home. His performance is detailed and very emotional.
      2. Jae Suh Park plays Jenna Lee, Isaac’s wife. Jenna is determined and strong. She wants to face the racism they experience and protect her son, Benjamin. Park’s acting shows both strength and sensitivity, making Jenna a key character who adds emotional depth to the film.
      3. Emerson Min plays Benjamin Lee, their son. Benjamin is the character that shows the audience most of the tension and drama. Min’s portrayal of Benjamin is relatable. It is strong for anyone who has experienced life as a teenager in a small town. His journey of discovering himself, facing racism, and ultimately finding love is a key emotional story in the film.
      4. Miya Cech plays Ellie Licht, who is Benjamin’s best friend and maybe more. Ellie is a Chinese adopted who helps Benjamin deal with their new surroundings. Cech’s performance brings emotion to the film. It shows the challenges young people face. They try to fit in a world that doesn’t always welcome them.
      5. West Mulholland plays Hunter Drake. Hunter starts as a bully, but he grows and redeems himself. Mulholland’s acting reveals Hunter’s struggle between his background and his morals. This is one of the best parts of the film.
      6. Seamus Dever plays Ranger Tom Drake, the bad guy in the movie. Tom Drake shows the strong dislike for outsiders often found in small-town America. Dever gives the character a scary vibe. This makes him a clear enemy to the Lees. They try to fit into their new life.

      The supporting cast is exceptional. MeeWha Alana Lee portrays Grandma Shim. Jamie McShane plays George McNather. Together, they add further layers of complexity and depth to the story. Each actor contributes something unique to their role. This uniqueness makes the character dynamics of A Great Divide a standout feature of the film.


      Plot Summary

      A Great Divide follows the Lee family – Isaac, Jenna, and their son, Benjamin. They leave the busy Bay Area in California to start fresh in the quiet land of rural Wyoming. Isaac’s new job and Jenna’s wish for a better future for Benjamin drive the move. However, they soon find that the small town is unfriendly. When they arrive, locals greet them with anger and fear because they are outsiders. The film shows how this unfair treatment affects the family’s emotions. It also affects their mental health as they adjust to life in a new place. Isaac tries to fit in and keep a low profile, while Jenna wants to directly confront the racism. This difference in approaches creates stress in the family, as they each struggle to cope with their new situation.

      Benjamin, a young boy, has a hard time fitting in and finding where he belongs in his small town. He finds comfort and strength in his friendship with Ellie, a Chinese adoptee who also experiences discrimination. At the same time, there are growing tensions between the Lees and the local community. This leads to a big showdown that makes everyone think about their biases and beliefs.

      Poster of A Great Divide featuring a Korean American family navigating racism and xenophobia in rural Wyoming.
      A Great Divide explores the challenges of identity and acceptance in small-town America, delivering a poignant story of hope, family, and redemption.

      Full Movie Explanation and Ending Recap

      Part 1: The Move to Wyoming

      The Lee family experiences a tough change. They move from the busy Bay Area to a mostly white, rural town in Wyoming. The difference is clear: in San Francisco, they were just another Asian-American family, but in Wyoming, they feel like outsiders. At the start of the film, Isaac tries to stay neutral. He hopes things will get better. Jenna, who is more vocal, wants to fight against racism directly. This difference in their views creates tension in their marriage.

      Part 2: The Struggle with Xenophobia

      The main conflict of the film involves a family. They want to fit in, but the community rejects them. Benjamin faces bullying at school, especially from Hunter Drake, a classmate who enjoys picking on him. However, as the movie goes on, Hunter starts to change. He begins to see the Lees not as outsiders but as regular people just trying to live their lives.

      Ellie, Benjamin’s friend, also faces her own struggles with identity and belonging. Her parents have sheltered her from the more painful aspects of racism. Through her friendship with Benjamin, she begins to understand the world in a more complex way.

      Part 3: Confrontation and Resolution

      The tension rises for the Lee family. They face a key moment. They must decide how to deal with the open hostility they are experiencing. Jenna, who has been outspoken against the racism, reaches her limit. Isaac’s quiet way of handling things is not enough. The turning point happens when a violent clash forces both Isaac and Jenna to rethink their plans.

      The film has a hopeful ending. The Lees are still not fully accepted by the community, but their struggles have made them closer. Benjamin has found love and purpose, and he is no longer the shy boy he used to be. The family is stronger for facing these challenges together, and the film ends on a note of redemption.


      Exciting News, Budget, and Reception

      The movie’s budget is not known. The filmmakers focused more on the story and emotions than on fancy special effects. The cinematography, especially the stunning views of Wyoming’s tough landscapes, makes the film feel genuine.

      Even though audiences liked it, A Great Divide has received mixed reviews from critics. Some say the pace is slow sometimes and the themes of racism and xenophobia seem too strong. Yet, the actors, especially Jeong, Park, and Min, are praised for their realism and emotional depth. The film has been noticed at film festivals and will likely be on streaming services like Hulu soon.


      My Rating

      I would give A Great Divide a 6.5 out of 10. The movie shows a real and touching view of the immigrant experience in America. It deals with deep issues in an emotional and subtle way. The pacing might not suit everyone, but the acting and cinematography make it a film worth watching.

      Top 3 Review Sites:

      1. Rotten Tomatoes – 80% Audience Score
      2. IMDb – 6/10
      3. Metacritic – 74/100

      Conclusion and Recommendations

      A Great Divide is a movie you should see. It deals with important issues in a caring way and tells a touching story about family and strength. If you like strong dramas that talk about social issues, you should watch this film. Look for it on streaming services and tell us what you think in the comments.

      To Watch The Full Movie CLICK HERE


      Poster of A Great Divide featuring a Korean American family navigating racism and xenophobia in rural Wyoming.
      Experience the emotional journey of a family torn between love, loss, and resilience in the face of racism. A Great Divide is a cinematic masterpiece that speaks to the heart.

      A Great Divide (2023) connects with classic movies through themes, storytelling, and character development:

      1. Similarities with To Kill a Mockingbird (1962):
        Both films deal with racism and societal prejudices in small towns. The character dynamics of the Lee family echo the moral struggles seen in the Finch family as they navigate hostile environments.
      2. Parallel to Guess Who’s Coming to Dinner (1967):
        This classic explores interracial relationships and societal biases, akin to how A Great Divide addresses xenophobia and cross-cultural friendships through Benjamin and Ellie.
      3. Resilience Like The Grapes of Wrath (1940):
        A Great Divide showcases the Lee family’s resilience and pursuit of hope, much like the Joad family’s struggles during the Great Depression.
      4. Redemption Arc Inspired by Casablanca (1942):
        Hunter Drake’s transformation in A Great Divide mirrors redemption arcs in classics like Rick Blaine’s journey in Casablanca.
      5. Exploration of Outsiders in Shane (1953):
        Both films depict a lone or isolated family/newcomers in rural settings, facing hostility from locals while maintaining their values.

      Would you like these comparisons added to your document or expanded upon?

      FAQs

      1. What is A Great Divide (2023) about? Answer: A Great Divide is about a Korean American family that moves to rural Wyoming and faces racism and xenophobia while navigating family dynamics and personal growth.
      2. Who are the main characters in A Great Divide? Answer: The main characters are Isaac Lee (Ken Jeong), Jenna Lee (Jae Suh Park), Benjamin Lee (Emerson Min), Ellie Licht (Miya Cech), and Ranger Tom Drake (Seamus Dever).
      3. What themes are explored in A Great Divide? Answer: The film explores themes of racism, xenophobia, family resilience, personal growth, and the immigrant experience in America.
      4. How does A Great Divide address racism and xenophobia? Answer: The movie depicts the prejudice faced by the Lee family in a small-town setting, showcasing their struggles and the eventual growth and redemption of some local characters.
      5. What makes the character dynamics in A Great Divide compelling? Answer: The film delves deep into the relationships within the Lee family and their interactions with the townsfolk, portraying emotional growth, conflict, and resolution.
      6. Who plays the key roles in A Great Divide, and how are their performances? Answer: Ken Jeong, Jae Suh Park, Emerson Min, Miya Cech, and Seamus Dever deliver powerful performances, with Jeong showing a dramatic range beyond his comedic roots.
      7. How does the setting of rural Wyoming impact the story? Answer: The isolation and cultural homogeneity of rural Wyoming amplify the challenges of racism and adaptation faced by the Lee family.
      8. What challenges does the Lee family face in A Great Divide? Answer: The family encounters overt racism, struggles to integrate into the community, and navigates internal family tensions stemming from differing coping strategies.
      9. How does the movie portray the immigrant experience in America? Answer: It authentically portrays the difficulties of assimilation, prejudice, and maintaining cultural identity in a predominantly white rural town.
      10. What role does Benjamin Lee’s friendship with Ellie play in the film? Answer: Ellie becomes Benjamin’s emotional anchor, helping him navigate discrimination while also dealing with her own identity struggles as a Chinese adoptee.
      11. How does Hunter Drake’s character evolve in A Great Divide? Answer: Hunter transforms from a school bully to a more understanding individual, reflecting the film’s theme of redemption.
      12. What is the significance of Ranger Tom Drake’s role as the antagonist? Answer: Tom Drake embodies the deep-seated prejudice in the town, serving as the primary source of conflict for the Lee family.
      13. How is the theme of redemption portrayed in A Great Divide? Answer: The film shows how characters like Hunter Drake overcome their biases, emphasizing growth and reconciliation.
      14. What is the overall tone and message of A Great Divide? Answer: The tone is heartfelt and reflective, with a message of resilience, family unity, and the importance of confronting prejudice.
      15. What are the key moments of tension in the movie? Answer: Key moments include Benjamin’s bullying incidents, Jenna’s confrontations with townsfolk, and the climactic violent clash that forces a resolution.
      16. How does A Great Divide depict family resilience in the face of adversity? Answer: The Lees grow stronger as a family by supporting each other and finding ways to cope with external hostility.
      17. What makes Ken Jeong’s performance in A Great Divide stand out? Answer: Ken Jeong delivers a nuanced and emotional performance, showcasing his versatility as an actor in a dramatic role.
      18. How does the cinematography enhance the storytelling in A Great Divide? Answer: The film’s use of Wyoming’s vast landscapes contrasts with the intimate struggles of the Lee family, highlighting their isolation and resilience.
      19. What are the critical reviews and audience reactions to A Great Divide? Answer: Critics praise the film for its performances and themes but note occasional pacing issues. Audience reactions are generally positive, highlighting its emotional impact.
      20. Where can I watch A Great Divide, and is it available on streaming platforms? Answer: The movie is expected to be available on streaming platforms like Hulu in the near future.

        The Best Movies to Watch for an Emotional Experience