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However, there are others who point to the changing urban aspirations and prospects for mobility that can be seen in Indian cities such as Mumbai in which the film is set. Ana Cristina Mendes (2010) places Boyle’s film in the context of the aestheticising and showcasing of poverty in India for artistic (and commercial) purposes, and proceeds to examine “the modes of circulation of these representations in the field of cultural production, as well as their role in enhancing the processes of ever-increasing consumption of India-related images.” The film, it is also suggested, celebrates characters and places that might be seen as symbolic of Western culture and models of development. The film is therefore likely to support policies that have tended to further dispossess the slum dwellers in terms of material goods, power and dignity.
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On review aggregator site Rotten Tomatoes, the film holds an approval rating of 92% based on 286 reviews. In Japan, the film grossed $12 million, the most the film has grossed in any Asian country. In the People’s Republic of China, the film grossed $2.2 million in its opening weekend (27–29 March). The film was released in Japan on 18 April 2009, South Korea on 19 March 2009, China on 26 March 2009, Vietnam on 10 April 2009, and 11 April 2009 in the Philippines. In Hong Kong, the film debuted taking $1 million in its opening weekend, making it the second biggest opening of millioner.net the year there.