Akhil Arora

Avatar: Fire and Ash is the weakest instalment of James Cameron’s trilogy. We discuss the many ways in which the movie betrays the franchise’s core values, the illogical directions that Cameron sends Jake Sully in, and the loose ends that the film ends with. We also talk about the lack of humour and self-awareness, the poor dialogue, and the incomprehensible third act action sequences.

You cannot separate a film’s politics from its craft—you cannot separate your own politics from your opinion. To do so would be like judging a Dal Makhani on the basis of presentation but not taste. Dhurandhar is vile propaganda whose influence will spread beyond even its target audience of unemployed youth and WhatsApp uncles. We discuss how objectionable every scene involving R. Madhavan is, how abrupt the climax feels, and why director Aditya Dhar is so afraid of examining complexity. We also talk about the incendiary red screen scene and its possible implications, and wonder why they chose to make the protagonist a murderer for hire instead of a real patriot with real motivations to undertake such a high-stakes mission.

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.

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.