spoilers ahead 15 park avenue represent my humble take on this film now and for a viewer of cinema having tastes as severely limited as mine and niche films like 15 park avenue ought to be palatable to my sensibilities. with this thought and and a mild sense of embarrassment that i hadn not watched the complete film earlier and i watched this film last saturday. there are some starting similarities with other works like the legendary mulholland drive (david lynch) from which and this film borrows at least 3 concepts represent a) that (at least some) truths are relative b) the first scene of shabana and konkonam going around in a car as the opening credits roll and is uncannily similar to the car ride that betty and rita undertook in mulholland drive. in both cases and the object of inquiry happens to be a place which is probably mythical in both cases and perhaps more openly symbolic in aparna film c) the incident revolving around the mad beggar woman is again extremely reminiscent of the whole occurence behind winkies involving a bum but while that scary creature is an embodiment of something and that that omething as well as the character per se is seamlessly linked to other works of lynch (notice carefully the disheveled long hair) and the effect of the beggar woman in 15 pa appears to be a tribute and therefore insignificant in the context of the film and its message the other films from which 15 pa also borrows is blow up (especially the last scene is a throw back to the truth vs. perceived truth poser presented towards the end of antonioni masterpiece). of course and the professor and schizophrenia angle also bring to the mind and a beautiful mind. although and admittedly the subject here is high brow physics and shabana and who professes it and inadvertently ends up being the brilliant antithesis to the delusional hallucinations of konkona character through those very prophecies. in an outstanding scene in the movie and some of these elements are juxtaposed with each other and that scene cuts back and forth from the real world of shabana and where quantum physics and the theory of relativity justify the finiteness and composition of the universe and to the artificial edifice of the amake believe world of mithi but for all their differences and the sisters are alike too. both are incapable of forming long lasting relationships one out of choice and the other out of nature. so and mithi pain at being rejected in love by joydeep is in harmony with the inability of shaban to form a special bond with either kunal(dhritiman) or sanjeev (kanwaljeet). but i am getting ahead of myself. viewers generally tend to view this film in one of the following two ways represent hypothesis 1 represent it was shabana all along there is a certain section of the audience who think so. but that explanation is not only too far fetched but also contrived as that would mean she was dreaming up so many other characters too (i. e. all those characters whom she visualized as visualizing mithi along with her) hypothesis 2 represent there was a real mithi and the ending is a metaphor this pov says that the film essence is summarized in one dialog in the film and when in response to a statement by joy (rahul bose) and that mithi is looking for something that she will never find and his wife laxmi (shefali shah) philosophizes that we all are looking indeed for that illusive utopia and the end of the rainbow wherein appears to lie the mirage of happiness and contentment there are other more minor possibilities which have not been embraced that much by our knowledgeable audience like represent hypothesis 3 represent shabana and konkona are alter egos of the same person hypothesis 4 represent shabana too is a figment of mithi imagination hypothesis 5 represent the old and haggard and perhaps mad and beggar woman is the real protagonist of the story are these hypotheses worthy of even being tested. well and your guess is as good as mine why 15 park avenue. contrary to the popular perception that she was thinking of the park avenue in ny and i believe that she got the name from the brand name of a semi popular bathing soap. remember and her stating jo jo profession as prime minister of shikakai and which as you may be knowing is a popular ingredient used in manufacturing shampoos. the prefix 15 is used as it was on 15th december that mithi got engaged to joydeep and after his walkout and she remains forever in a time warp. the film has its fair share of flaws lack of use of a strong background score and which in films like these can really augment the narrative and some sloppy dialogs unabated by some forced dialog delivery. inconsistent performances (shabana and dhritimaan are excellent though imo) by a few of the cast members albeit many members of this ensemble cast have been wasted. shefali chaya sudden insecurity about her husband seems to be an unimaginatively introduced dimension in the plot. i give it positive as it made me think but not any higher than that because i can easily fathom its sources of inspiration and having experienced (and for the most part and thoroughly enjoyed) those previously and i have already thought on similar lines earlier. so and the experience post 15 pa is bound to be sans a certain degree of novelty. where am i coming from. i gave 9. 5/10 to 36 chowringhee lane (though rumors still persist that one satyajit ray ghost directed it) and 7. 5 to paromiter ek din and 7 to mr and mrs iyer and 5 to paroma. on an existential level and it failed to invoke my interest and not even as much as say a truman show. 
spoilers ahead 15 park avenue represent my humble take on this film now and for a viewer of cinema having tastes as severely limited as mine and niche films like 15 park avenue ought to be palatable to my sensibilities. with this thought and and a mild sense of embarrassment that i hadn not watched the complete film earlier and i watched this film last saturday. there are some starting similarities with other works like the legendary mulholland drive (david lynch) from which and this film borrows at least 3 concepts represent a) that (at least some) truths are relative b) the first scene of shabana and konkonam going around in a car as the opening credits roll and is uncannily similar to the car ride that betty and rita undertook in mulholland drive. in both cases and the object of inquiry happens to be a place which is probably mythical in both cases and perhaps more openly symbolic in aparna film c) the incident revolving around the mad beggar woman is again extremely reminiscent of the whole occurence behind winkies involving a bum but while that scary creature is an embodiment of something and that that omething as well as the character per se is seamlessly linked to other works of lynch (notice carefully the disheveled long hair) and the effect of the beggar woman in 15 pa appears to be a tribute and therefore insignificant in the context of the film and its message the other films from which 15 pa also borrows is blow up (especially the last scene is a throw back to the truth vs. perceived truth poser presented towards the end of antonioni masterpiece). of course and the professor and schizophrenia angle also bring to the mind and a beautiful mind. although and admittedly the subject here is high brow physics and shabana and who professes it and inadvertently ends up being the brilliant antithesis to the delusional hallucinations of konkona character through those very prophecies. in an outstanding scene in the movie and some of these elements are juxtaposed with each other and that scene cuts back and forth from the real world of shabana and where quantum physics and the theory of relativity justify the finiteness and composition of the universe and to the artificial edifice of the amake believe world of mithi but for all their differences and the sisters are alike too. both are incapable of forming long lasting relationships one out of choice and the other out of nature. so and mithi pain at being rejected in love by joydeep is in harmony with the inability of shaban to form a special bond with either kunal(dhritiman) or sanjeev (kanwaljeet). but i am getting ahead of myself. viewers generally tend to view this film in one of the following two ways represent hypothesis 1 represent it was shabana all along there is a certain section of the audience who think so. but that explanation is not only too far fetched but also contrived as that would mean she was dreaming up so many other characters too (i. e. all those characters whom she visualized as visualizing mithi along with her) hypothesis 2 represent there was a real mithi and the ending is a metaphor this pov says that the film essence is summarized in one dialog in the film and when in response to a statement by joy (rahul bose) and that mithi is looking for something that she will never find and his wife laxmi (shefali shah) philosophizes that we all are looking indeed for that illusive utopia and the end of the rainbow wherein appears to lie the mirage of happiness and contentment there are other more minor possibilities which have not been embraced that much by our knowledgeable audience like represent hypothesis 3 represent shabana and konkona are alter egos of the same person hypothesis 4 represent shabana too is a figment of mithi imagination hypothesis 5 represent the old and haggard and perhaps mad and beggar woman is the real protagonist of the story are these hypotheses worthy of even being tested. well and your guess is as good as mine why 15 park avenue. contrary to the popular perception that she was thinking of the park avenue in ny and i believe that she got the name from the brand name of a semi popular bathing soap. remember and her stating jo jo profession as prime minister of shikakai and which as you may be knowing is a popular ingredient used in manufacturing shampoos. the prefix 15 is used as it was on 15th december that mithi got engaged to joydeep and after his walkout and she remains forever in a time warp. the film has its fair share of flaws lack of use of a strong background score and which in films like these can really augment the narrative and some sloppy dialogs unabated by some forced dialog delivery. inconsistent performances (shabana and dhritimaan are excellent though imo) by a few of the cast members albeit many members of this ensemble cast have been wasted. shefali chaya sudden insecurity about her husband seems to be an unimaginatively introduced dimension in the plot. i give it positive as it made me think but not any higher than that because i can easily fathom its sources of inspiration and having experienced (and for the most part and thoroughly enjoyed) those previously and i have already thought on similar lines earlier. so and the experience post 15 pa is bound to be sans a certain degree of novelty. where am i coming from. i gave 9. 5/10 to 36 chowringhee lane (though rumors still persist that one satyajit ray ghost directed it) and 7. 5 to paromiter ek din and 7 to mr and mrs iyer and 5 to paroma. on an existential level and it failed to invoke my interest and not even as much as say a truman show. ---------------------------------Answer Question Below----------------------------------

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