Akhil Arora

The Girlfriend seems like a direct response to the widespread misogyny of Indian cinema, but it feels disingenuous because it stars someone who has defended that very misogyny. We discuss the unintelligent character that Rashmika Mandanna has been saddled with, and wonder if the only path towards feminism that Indian filmmakers know involves taking a detour via humiliation. We also talk about the film’s on-the-nose storytelling, which undermines its noble intentions, touch upon the patriarchal irony of the film’s pivotal moment, and provide an unrealistic pathway for Mandanna’s redemption.

Nishaanchi: Part 2 features arguably the best climax that Anurag Kashyap has ever orchestrated. We discuss the two-part experience as a whole, Kashyap’s modern update to old-school Bollywood tropes, and the magnetism of Monika Panwar’s Manjari. We also discuss the film’s broader themes of revenge, the stylistic influences, and welcome Kashyap’s long-awaited return to form.

Anurag Kashyap’s Nishaanchi: Part 1 is a welcome return to form, and the long-awaited spiritual successor to Gangs of Wasseypur that his fans have been waiting for. We discuss the film’s complex approach to classic themes of revenge, betrayal, and jealousy, while also praising the central performances. Along the way, we commend Kashyap’s inimitable writing and inherent sympathy for the devil.

Lokah Chapter 1: Chandra is perhaps the most overrated Indian movie of the year. We discuss the film’s inert narrative, jarring action, and inelegant world-building that includes an unnecessary detour into Kantara territory. We also talk about where the franchise could head next, and why it would immediately be better if merged with the universe.

Param Sundari, the new film starring Janhvi Kapoor and Sidharth Malhotra, seems to make things up as it goes along. We discuss the offensive cultural appropriation in every frame of the film, the odd motivations of its protagonists, and the film’s reliance on cultural stereotypes. We also talk about Janhvi Kapoor’s wardrobe, a potentially incendiary scene set inside a church, and how Bollywood filmmakers continue to fail upwards.

Param Sundari, the new film starring Janhvi Kapoor and Sidharth Malhotra, seems to make things up as it goes along. We discuss the offensive cultural appropriation in every frame of the film, the odd motivations of its protagonists, and the film’s reliance on cultural stereotypes. We also talk about Janhvi Kapoor’s wardrobe, a potentially incendiary scene set inside a church, and how Bollywood filmmakers continue to fail upwards.

Inspector Zende, the new spoof movie starring Manoj Bajpayee and Jim Sarbh, succeeds as a concept but fails in execution. What could’ve been a homegrown homage to The Naked Gun comes across as a first draft in need of clever rewrites. While Bajpayee is going full ham in the central role, matching the movie’s energy, Sarbh seems to have been told to tone it down. The result is a tonally uneven ride that could’ve been worse, but also better.

Songs of Paradise is like a 1950s movie that has time-traveled to the present day. We discuss the film’s old-fashioned narrative and undemanding themes, the chasm of quality between Saba Azad and Sheeba Chaddha’s performances, and the limited ambition of writer-director Danish Renzu. Songs of Paradise could’ve worked as a metaphor for post-Independence Kashmir, but instead, it’s like a bedtime story for five-year-olds.