Where The Girl In Yellow Boots stopped being satisfactory is when I started wanting more, and didn't get it.

The film's value is in its portrait of Ruth, and her independence as a solo outsider in a vast, uncaring city.

The yarn flounders under a crush of declamatory dialogue, sheds its plumage in an overheated final act and no amount of delirious closeups of Koechlin's lovely face (shot by her director husband, Anurag Kashyap) can restore its sheen.

A word about Kalki's performance: she literally slips into the shoes of the protagonist and essays the anguish of a lonely, lost soul effortlessly.