The treatment, as said, is quite stunning. Cinematographer Nikos Andritsakis has wonderfully managed to make the cameras seem held by the characters themselves, and Namrata Rao edits with ruthless tightness, making for some killer cuts.
Title cards a la pulp desi literature serve as cheeky, tragicomic titles for each of the three tales, and the film's music is married to the narrative with a casual grace, right from the DDLJ theme to the film's own deceptively simple theme tune, one that goes with anything. Fitting for a film where anything goes.
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