The intersection between art and reality is rarely as poignant and direct as the retelling of the extremist attack on Hotel Taj in Mumbai in 2008. It is especially disturbing in light of recent events in Christchurch.
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From the moment we see a small band of men arriving in Mumbai by rubber dinghy, the tension builds and doesn't dissipate.
It is not long before the intentions of the group are clear. From instructions from their leader, a disembodied voice who communicates via mobile phone to each member of the squad of killers, they each proceed to their designated target across the expanse of Mumbai.
Their intent is clear-cut and murderous.
The events in the film concentrate on the carnage that occurs at the exquisite and exclusive Hotel Taj.
There are undertones of class divisions as the elite members of international society are pampered at the Taj, while the staff members endeavour to serve and meet their guests' every whim. Head chef Hemant's directive that "guests are God" summarises the class distinctions, although the class barriers will disintegrate somewhat as the terrorist attack progresses.
"Based of true events" fills the screen as the movie begins. With Hotel Mumbai, it is not only relevant but carries a message that connects us all regardless of location in the world, political orientation and cultural backgrounds.
The real nature of the retelling means that there will not be an heroic avenger in the form of Arnold Schwarzenegger and Liam Neeson to enter the scene, disarm and kill the terrorists and ensure everyone is saved from harm.
Many people died in the actual attack. The film does not shy away from the brutal and cold-blooded approach taken by the killers.
These events happened and people were killed and died in horrendous circumstances.
People survived due to the unselfish and clear-headed thinking under extreme circumstances of a number of people, such as waiter Arjun and head chef Hemant.
Be forewarned that if you are disturbed by real world killings depicted in films then you might well avoid seeing Hotel Mumbai, not because it is an ill-made film, but rather because it is too believable and too heart-rending to be classed as mere entertainment.
Australian director Anthony Maras approaches the horrendous events with care and focuses on several individuals such as Vasili, a Russian oligarch, the American-Indian couple Zahra and David, the Indian waiter Arjun, and Taj's head chef Hemant to make the film about the human impact rather than the politics.
