He ends up in a room with two other males tied to their chairs. It is then realized that the subject is going where he is supposed to be. The loudspeaker gives details of where the subject is in the building. This subject manages to escape into the building. Only one subject will survive the ordeal. Over the next few hours, the remaining three male subjects will be subjected to additional physical and psychological brutality. Upon completing his introduction, the researcher shoots the female subject in the head with a gun and promptly leaves the room. He indicates to the subjects-three men and a woman-that the study will take approximately eight hours to complete, at which time they will each be paid $250. In the meantime, a researcher enters the room, ostensibly to give an overview of the study. They are each given a questionnaire to fill out. One by one, the subjects are brought into a large, white room, in which the tables and chairs have been bolted to the floor. It’s a film whose thrills are firmly interested in the consequences of failure.Four individuals sign up for a psychological research study only to discover that they are now subjects of a brutal, modern version of the Project MKULTRA indoctrination program. These students-turned-hostages work to make alliances in the shadowy spaces and in the hide-out’s violet neon lights before Oti detonates. The primary action takes place in this confined shack and involves the paranoid Oti (Jeritah Mwake) interrogating his friends at gunpoint to snuff out a potential rat.
“Nairobby” opens stirringly, with the group crashing through the door of a country shack carrying a duffle bag filled with money and a badly wounded comrade. However, “Nairobby,” from the Kenyan director Jennifer Gatero, takes a path more similar to Quentin Tarantino’s “Reservoir Dogs.” Occurring in the aftermath of the theft, the film follows six politically active college students who are so fed up with the system, they decide to take matters into their own hands by absconding with cash belonging to the dean of their school. In most capers, the tightly calibrated run-up to a heist boils to a thrilling release when the pieces of a well-formed plan fall into place. A war sequence involving roadside bombs set to a hectic organ score is another that acknowledges the diversity of this subcontinent while noting the unavoidable results of a region not allowed to choose its own identity. A one-shot track down a dirt road to a field engulfed in flames is one such rapturous image. The exquisite compositions by the cinematographer Ewan Mulligan capture the ensuing destruction across the lush northeastern Indian countryside not through a salacious lens, but with an aching beauty that outlines this rebellion in determined strokes. While Joshua gathers intel, guerrilla warriors continue their fight against what they see as an oppressive government. It’s seen, partly, through the eyes of Joshua (Ayushmann Khurrana), an undercover agent who must choose between the love of his girlfriend, Aido (Andrea Kevichüsa), a boxer pursuing a spot on the national team who is unaware of his government ties, and a mission to undermine a rebel group secretly led by Aido’s father (Mipham Otsal).
This sprawling and incisive action thriller from the Indian director Anubhav Sinha offers a distinctive glimpse into the divergent political and cultural identities found in India’s northeast.
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