Dhobi Ghat , a film directed by Kiran Rao and produced by Aamir Khan starts nowhere and ends nowhere but there lies the essence of the movie. The whole ninety minutes  the audience expects something to happen , some climax or a high point to take place and thus some kind of disappointment might be faced by a few who expect it to be ending in a conventional happy or a sad manner. For that matter there exists no situation which one might call as the end. Kiran Rao has left it completely to the audience to decide way they want to perceive the movie.

There is no one story but a few inter-meshing plots moving around four lives which are closely and yet not closely inter-connected with each other. Monica Dogra (Shye) plays the role of an American Indian Banker who has come to India for exploring her skills further in photography. On other hand, lies Amir Khan, a self- absorbed solitary modern art painter who cherishes his solitude all the more when he comes across few tapes of the previous Tenant, Yasmin (Kriti Malhotra). Vicariously he lives a Life shown by Yasmin through those clips which she had made for her brother. In between we are exposed to the real world of Mumbai shown through the eyes of a washer man Mannu (Prateik Babbar). The dirty darkened walled buildings , congested habitat of the hard working Mumbaikers , the common daily struggle to make both the ends meet in Dhobi Ghat makes it  a worthy eyepiece for the ones who are ignorant of the yet darker terrains of life.

Kiran choses the characters coming from different walks of life but equates them all at a same level as she weaves it all in the same shade of emotions and so is the audience woven into the same milieu. With an unconventional direction , Kiran Rao has dared to structure this  Genre differently but not by adding anything novel to it but rather keeping it as plain and raw as it should be. By the end it looks like the part of anybody and everybody’s life. It is a must watch if you are a seeker of something raw rather than frivolous.