There is no comedy without a tragic element. The comedy we got in the beginning of the film all stemmed from the misfortune of Aamir Khan's alien. He explores like a baby in human society, and at the beginning of the story, he is shown on the screen as a harlequin.
Meanwhile, another storyline's heroine's exotic love story doesn't seem to have much to do with the alien's visit to Earth. It was not until the alien PK classmate was in India, a country where all the people believe in religion, that passers-by led the way to pray to God and worship Buddha, and the hidden line of the story was gradually revealed.
Indian movies are made of religion, and Aamir Khan is specially selected for the film, which is a perfect match. The subcontinent of India itself contains most of the world's mainstream religions, and the reason why Aamir Khan and his first wife chose to elope back then was also for religious reasons: Hinduism and Muslims are incompatible.
Religious issues are completely unimaginable to human beings in the last century, and will become the location of a global problem. When the fanatical belief is combined with the power of gunpowder, its aggressiveness is far greater than that of the hard-working missionaries during the great voyage. What exactly is religion? Is it hypocrisy? Is it an instrument of domination? No one can expect answers in a comedy, but this Indian comedy has it quite brilliantly.
When anomalies are treated as everyday for too long, anomalies become everyday, and the original everyday is demonized. In a sense, the introduction of this film allowed me to see a little light in the dark Chinese film censorship market. Perhaps in the larger universe as well, there is always hope, and we should never really be disappointed with it.
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