Akhil Arora

Lust Stories 3, the new Netflix anthology featuring films from Vikramaditya Motwane, Kiran Rao, Shakun Batra, and Vishal Bhardwaj, is an uneven collection that mostly wastes its stellar ensemble cast. We discuss the frustratingly derivative nature of Batra’s divorce drama, Rao’s contrived thriller complete with an unnecessary twist, Motwane’s confused exploration of partner swapping, and Bhardwaj’s whimsical 1980s segment. We also talk about the anthology’s inability to tell a grounded slice-of-life story without shoehorning in extreme dramatic plot devices. Along the way, we question why Netflix forces these disconnected shorts together into a single movie instead of releasing them as television episodes.

Instead of a gritty, remorseful gangster saga, Toxic is an exhausting 194-minute ego trip for its lead star, Yash. We discuss the clash of visions between director Geetu Mohandas’s attempt at an emotional father-son remorse drama and Yash’s demand for high-octane KGF-style star worship. Naturally, the film collapses under the weight of its conflicting ambitions. We also talk about the baffling visual language, its performative gender dynamics, and the claustrophobic close-ups that make a ₹500 crore budget look like cheap AI slop.

After the success of Amar Singh Chamkila, Imtiaz Ali returns with Main Vaapas Aaunga—a film that desperately wants to build a timeless love story, but forgets to make its lead characters believable. We discuss the movie’s sanitised and one-dimensional depiction of Partition trauma, the bizarre inclusion of stand-up comedy monologues, and question Ali’s “political reawakening”. Along the way, we talk about the disastrous casting of lead actor Vedang Raina, how the film treats historical trauma like a Wikipedia checklist, and why Naseeruddin Shah effortlessly outclasses everyone despite being bedridden.

Christopher Nolan’s The Odyssey serves as a massive anti-war critique of the insatiable appetites of men and the erosion of trust. From useless suitors to disgraced conquerors, and from Agamemnon’s bloody fate to the dishonour trailing Odysseus’ crew everywhere they go, the film isn’t subtle about its themes. We also talk about the terrifyingly atmospheric hell scene, contrast the stunning visual spectacle with its rushed pacing in parts, and question why the dialogue swings wildly between cryptic symbolism and super basic hand-holding.

Dug Dug, the long-delayed satirical comedy from director Ritwik Pareek, doesn’t take its intriguing premise to the pinnacle. We discuss the film’s languid opening act that has little to do with the following hour. We also talk about its commentary on blind faith and superstition, and wonder why it doesn’t train its targets on bigger enemies, choosing instead to punch down.

Apex—the new Netflix survival thriller starring Charlize Theron and Taron Egerton—is like an anti-Australia propaganda video paid for by people still traumatised by the 2003 Cricket World Cup final. We discuss Netflix’s dedication to making instantly forgettable movies, its digitally created natural landscapes, and its by-the-numbers plot that has exactly two unexpected twists.

Samay Raina reveals his opportunistic soul in the self-aggrandising comedy special Still Alive. We discuss his decision to portray himself as a victim, to conflate the suffering of his parents with his own, and the consequences of giving in to bullies while projecting himself as a martyr. We also compare his stance to that of his fellow comedian Kunal Kamra and discuss the differences between the YouTube version and the live performance.