The latter two-thirds of Noor exasperate in a number of ways, not least the flippancy with which it treats a serious subject. Until the film suddenly veers off course in a misguided reach for more depth, bringing down the whole house in the process. Indeed, the early scenes have a playful, breezy vibe about them-while not entirely convincing, it is reasonably enjoyable to watch our klutzy protagonist fret endlessly and uselessly about work and weight and men in a manner very much reminiscent of that rom-com Hall-of-Famer, airhead extraordinaire, Bridget Jones. But even if you can’t fully relate to her woes and might shake your head at such blatant self-absorption, there’s still potential here for some entertainment. Look, I know it all sounds a bit daft, and very much in the spirit of the many Hollywoodian (and increasingly, Bollywoodian) depictions of the existential crises of narcissistic, entitled middle-class Millennials-Noor might whine about being too broke to afford smokes, or pay the installments on her car, but she still wears all the cute clothes, uses a nice computer and doesn’t appear to have to worry about paying rent. BFFs Zara (Shibani Dandekar) and Saad (Kanan Gill) are about the only people who can cheer her up marginally, but even their company can have a price-usually in the form of terrific hangovers the next day. Not to mention, the water heater in the apartment she shares with her widowed father (M K Raina) has long been out of service but the maid keeps forgetting to get it fixed, forcing Noor to resort to freezing cold showers. Not only does she hate her job-though she’s keen on doing more substantial, “issue-based” stories for the online media company she works for, editor Shekhar (Manish Chaudhari) will only assign her the fluffiest of fluff pieces-but she’s also suffering a bit of a romantic drought, not for lack of trying. We make the acquaintance of Noor Roy Chowdhury (Sinha), a twenty-something journalist living in Mumbai, who is presently stuck in a rut of sorts.
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