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On the other hand, chewing gums, lozenges, inhalers and nasal sprays (reliever NRTs) reduce symptoms faster than patches, but they provide worse basal coverage [12]

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It also refers to the natural order of the world that good prevails where evil is quashed by the superior power." [10] Prejo interpreted the film as a "journey through the complicated mind and psychology of a smoking addict who intends to kick the habit, a depiction of the travails of a chain smoker who finds it difficult to quit and the mental toll this process has on him." [32] Gajjar wrote that "K represents people afflicted with serious addictions who struggle to escape their patterns." And when K does seek a change, "he descends into a hell of sorts where he was emotionally, mentally, and physically manipulated into giving up smoking, at the cost of his sanity." [8] Prejo pointed out "infinitely large repository of VHS tapes, which have recorded each and every incident and happenings in the lives of the patients of Prayogshala." [32] Interpreting the film as a critique of surveillance state, Gajjar noted how, "Baba Bengali constantly has eyes on K, no matter how many flights he takes or remote places he goes to, even in the privacy of his own home," and that "viewed in the present day, theres a degree of relatability to being observed at all times, and to being addicted to the very tools and services observing you." [8] Prejo noted the uncertainties of the events, whether they were real or in K's "convoluted psyche," pointing out K's repeated emergings from a bathtub, which could be his returning "to the real world" or "into his own mind." [32] Gajjar interpreted K waking up in the solitary cabin as showing imprisonment of "K, or rather, his soul," and that his predicament "highlights his distorted state of mind after being psychologically tortured for so long." [8] Matin pointed out how K's journey takes him from his "plush South Bombay apartment overlooking the magnificent vista of Brabourne Stadium," into the "almost claustrophobic bustle of Dharavi's slums," and then further into a "subterranean purgatory in the hot bowels of the city where, as in a dream, time and place coalesce in a mist of sunlight and dirt." [26] Kashyap has stated that No Smoking is the story of "arrogance versus super arrogance, freedom to choose versus censorship

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