Akhil Arora

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.

Homebound, Neeraj Ghaywan’s second feature film in a decade, is well worth the wait. Already selected as India’s official entry for the 2026 Oscars, Homebound is just as moving as Ghaywan’s widely admired debut film, Masaan. We discuss its poetic storytelling, deeply empathetic eye, and the fabulous central performances of Vishal Jethwa and Ishaan Khatter. We also talk about its daring, humanist approach to spotlighting minority communities, and how a tragedy like the COVID-19 pandemic affected them. Later in the episode, we discuss the film’s chances at the Oscars.

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.

In the Tamil-language film Maareesan, the plot twist comes not at the end, but midway through. We talk about the sudden change in tone, and how the film handles it. We also discuss Fahadh Faasil’s comedic performance, and wonder why the film is presented through the perspective of his character. But mainly, we talk about the film’s shady morality, which seems to champion extrajudicial killings if the cause is perceived as noble enough.

Tehran—the new John Abraham political action thriller—literally cannot identify the country of Georgia on the map. The movie also goes out of its way to make its protagonist an apolitical man who somehow annoys the governments of three nations, including his own. We discuss the film’s muddled messaging, its bizarre third act, and the arrogance with which it thinks it can get away with claiming Scotland is Iran.