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Table of Contents
Unpaused Naya Safar
Unpaused Naya Safar Casts
- Shreya Dhanwanthary as Akriti
- Priyanshu Painyuli as Dippy
- Saqib Saleem as Chandan
- Ashish Verma as Dimple
- Geetanjali Kulkarni as Sangeeta Waghmare
- Nagraj Manjule as Vikas Chavan
- Rasika Agashe as Gauri Kulkarni
- Manoj Kolhatkar as MHO
- Sharvari Deshpande as Dr. Urmila
- Country India
- Language Hindi
- Genre Drama
- Release date January 21, 2022 (India)
- Country India
- Production company Amazon Studios
- Episodes 5
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About Unpaused: Naya Safar Web Series
Love, Loss, Beginnings, Second Chances, Expectations – People experience all of this when they are trapped in Covid-inspired lockdowns, in this anthology created by five different directors of Hindi cinema.
Unpaused: Naya Safar
The Couple Release Date: 21 January 2022
War Room Release Date: 21 January 2022
Teen Tigada Release Date: 21 January 2022
Gond Ke Laddu Release Date: 21 January 2022
Vaikunth Release Date: 21 January 2022
Unpaused: Naya Safar Review
Two years ago, a virus entered our lives and changed things around the world.
Indiscriminate and unstoppable, COVID-19 is the great leveler of this age, who, in their wildest dreams, has changed lives from top to bottom in a way that the privileged and vulnerable cannot expect.
Its negative impact on every society and in all spheres exposes the weakness of human life and aspirations.
Many lives and livelihoods have been lost or destroyed, and the devastating consequences remain a scourge.
But as long as we breathe, there is life and hope.
Without stopping: Naya Zafar, the second in a series of unposted anthologies streaming on Amazon Prime video, stands firm at the last thought of a tunnel and looks at the infected people in all walks of life. Prism of Optimism in five heartwarming stories.
In Nupur Asthana’s The Couple, Shreya Dhanwantari and Priyanshu Pineuli portray a young and civilized marriage between two workhorse professionals – WFH (work from home).
Finding time for snacks and snails, Shreya is the alpha, while Priyanshu sows and toils.
She is his voice board and the shoulder to lean on, and he is her surprise package.
But when they throw a pink slip at a beautiful (and posh) image, a shift in power dynamics rises above their heads.
Whether it’s safe or inevitable, in Astana’s slice-of-life segment, urban couples with deeply buried heads in the high market lifestyle are lightly explored, and their privileged, high – altitude mushroom culture is evoked. Although it points in the direction of those who are very bad, the couple does not hate them for their better condition.
Instead, Astana sympathizes with her characters and understands the challenges of people trapped in an unprecedented situation.
Staying indefinitely at home without any social interactions turned most people into anxious insomniacs, a statistic Astana’s keen eye remembers only very well, which led to some intense confrontation and heartfelt reconciliation.
Ayyappa KM’s War Room provides a behind-the-scenes look at Kovid-19 volunteers who are actively involved in answering SOS calls and finding hospital beds for patients in need of urgent medical intervention. Since the beginning of the pandemic, it has been dominating every day and freezing discourses, especially for those who are constantly caught up in it.
But the cold, clinical reserve of a math teacher who became a Kovid War Room employee (Gitanjali Kulkarni) is not some defensive mechanism.
Filled with symbolism and sensitivity, War Room is a haunting story of relentless revenge.
In the conflict between the misunderstood mother and the devoted volunteer, a woman finds her best judgment blurred by the need for her repayment.
The War Room is unclear about the exact nature of its character’s internal turmoil, and is not interested in revealing what conclusion it will reach until the final great scene.
The heap reveals the depth of Gitanjali Kulkarni’s artistic prowess. Although half of her face is hidden in the mask, Powerhouse conveys a volume of emotion.
Next, Ruchir Arun’s Teen Tigada is about three thieves who are trapped in a remote warehouse with smuggled goods between a deadly second wave and a complete lockdown.
One’s (Saqib Salim)’s wife is expecting their first child, and the third (Ashish Verma) in the drunken self-portrait videos (Sam Mohan) is always hungry and quarrelsome – their quarrels and fights are at the heart of Arun’s amazement. -A rich description of their estrangement and anxiety.
They experience life, birth, death, and the whole circle of life without the hustle and bustle of being unknowingly trapped inside.
Although somewhat slow compared to others in anthology, Teen Tigada makes some dynamic observations about the marginalized, discounted, and equal victims of the Pandemic.
A fairy tale from the Pandemic period, designed by Shikha Macon to conquer the hearts of Gond Ke Ladoo.
When a lovingly prepared package of handmade ladu made by the mother (Nina Kulkarni) for her daughter’s post-pregnancy nutrition, the delivery man (Laxveer Singh Sharan) and his good half (Darshana Rajendran) go their separate ways. make it happen.
Two-wheeled, five-star rated masked superheroes are their only reward.
Feel good, that’s awesomeThe gems also highlight the importance of personal touch in the era of Gond Ke Ladu maintaining social distance.
Travel restrictions have put an end to many celebrations, and senior citizens are expected to become technologically savvy overnight. But Gond Ke Ladu rejoices in the small triumphs of his mother’s newly discovered freedom when he informs his daughter, who lives in another city, in a visually empowered voice, ‘Tumhari offline mummy ne online courier karna sikh lia khud se’.
The unfinished are covered in a terrifying air.
Funeral Ground is named after its central character, and Vaikuntham, directed and starring Nagaraj Manjule, is one of the five most powerful, visually impressive and well-edited.
Those horrific images of innumerable piles and corpses still linger in public memory. The stigma and fear surrounding the virus reveals the ugly side of humans, which is vaguely documented in Vaikuntha.
When the landlord orders his father to evacuate his hut due to coronavirus infection, his father-in-law (Manjule) and his son are forced to seek refuge in Shamshan – Yahan Amir Aur Garib Ka Bistar Ek Hai Hota Hai.
Where he spends his day burning a tomb of corpses thrown away like cargo and collected as sanitizer-sprinkled ashes, his night is spent trying to chase people wearing PPE suits and get some news about his father who was admitted to the hospital.
Maybe it’s the nature of his work or the passive behavior of men on his social level, but his idea of survival is a little careless and oblivious to the mask. Despite the calm mood, Vaikuntha finds a clever way to stay afloat: Naya Zafar’s exciting theme ends in an incredibly intelligent note.
Anthropologists are unequal and dissatisfied.
They have a tendency to play for those they like.
But not stopping is a rare exception. Each story is different, gives realism and relevance.
There is harmony in its ideas, authenticity in conflict and progress in the message of hope.