"Rao isn’t telling. If there are Big Thesis Points embedded in Dhobi Ghat, she’s leaving the unearthing to others. And like Sofia Coppola, she’s more interested in sweating the small stuff, sculpting the here and now. She’s not after what happens but how – the gradual unfolding of scenelets in a manner that’s sensual and rarely sentimental. There’s so much mood in the frames, so much compassion and feeling, that the awkward plot points are swept away like Yasmin’s writings on the sands of the sea."