Shomini Sen

No one depicts love and longing as beautifully as Imtiaz Ali does. His coming-of-age dramas like Rockstar, Cocktail, Jab We Met, and even Jab Harry Met Sejal have had these two as central themes in the plot. In Amar Singh Chamkeela, Ali’s most political film to date, love made the two lead characters brave even as they longed to belong. His latest, Main Vapas Aaunga, is based on a similar theme, but Ali goes a step forward and talks of man-made borders, refugee crisis world over and how no particular community should be held responsible for the trauma that came with the partition of India in 1947. Featuring a stellar cast comprising Naseeruddin Shah, Diljit Dosanjh, Vedang Raina, Rajat Kapoor, and Sharvari, Main Vaapas Aaunga speaks the language of love in a polarised world.

First and foremost, it’s great that Anurag Kashyap is back directing a film. Kashyap has, in the past, delivered some of the most iconic films of our time, which have been lauded for being gritty and real. The man has, in the last few years, forayed into acting (he is earning praises in that department, too) and has publicly admitted that he is disillusioned with Bollywood and its ways. Which is why his latest directorial venture, Bandar, featuring Bobby Deol in the lead, is a special film. The film has been written by Sudip Sharma and Abhishek Banerjee, the men behind web series like Pataal Lok 2 and Kohhra. Expectations, thus, were high from Bandar. But does it live up to those expectations? Here’s what I thought.

Things fall quite easily in the lap of public prosecutor Neha Rajvansh (Sonakshi Sinha) in Ashwini Iyer Tiwari’s new film System. Neha may be working to get the underprivileged justice in the Delhi court as a public prosecutor, but she comes from a position of privilege. While she is out there to prove a point to her successful father, she is also aware of her limitations and thus takes the help of courtroom stenographer Satika Rawat (Jyotika). Two women headlining a courtroom drama in Bollywood is novel, even though the premise is a known one. But does Iyer Tiwari’s film deliver a sharp courtroom drama? Only in parts.

An entire generation has grown up watching, loving and taking inspiration from The Devil Wears Prada. The film, released in 2006, went on to achieve cult status in subsequent years. And so, when the sequel, The Devil Wears Prada 2, was announced, the news was welcomed with excitement and scepticism from ardent fans of the original. It is never easy to match up to a classic with sequels. The fact that the makers managed to bring back the majority of the original cast and crew - including the lead cast, director and writer- back on board for the sequel helped to keep the continuity. But the burden of expectation was huge right from the time the filming of The Devil Wears Prada 2 began, with social media flooding with BTS sequences from the film set. Some felt overexposure would kill the excitement way before the film even released, but instead, the images and some aggressive marketing before the film’s release have only piqued everyone’s curiosity about the film. The good news is that The Devil Wears Prada 2 delivers to a great extent. But if you channel your inner Miranda Preistly, part 2 of the iconic film is not ‘groundbreaking’.

To understand the hysteria that once surrounded the King of Pop, Michael Jackson, one must be from that era. The pop legend’s biopic Michael comes nearly two decades after his passing. The man who had, in the later years, withdrawn himself from the public owing to a spate of controversies, was a conflicting personality. One that would amuse, shock and entertain in equal measure. Directed by Antoine Fuqua, the biopic, which marks the acting debut of the late singer’s nephew Jaafar Jackson in the titular role, presents a very sanitised version of Michael Jackson and his rise to stardom. The film is backed by the late singer’s family and close aides, and perhaps that’s the reason that the film is so one-dimensional in its approach.

It’s been a while since we watched a good Bollywood comedy. And perhaps longer since a director has used the perfect comic timing of Rajkummar Rao in a movie script. Rao, who has featured in a spate of mostly unforgettable films in recent years, perhaps got bored with the repeated roles that were being offered to him year after year and decided to back a genuinely funny film called Toaster. Released on Netflix directly, it’s the kind of film that makes you laugh out loud at mundanity, the everyday chaos that the Indian middle-class balances in life. Directed by Vivek Daschaudhary and produced by Rao’s wife, Patralekha, Toaster feels refreshing amid the heavy-duty pan-India action films that filmmakers are constantly feeding us.

Modern-day romance is complex. Gone are the days when boy-meets-girl and they fall in love form the ideal rom-com in Hollywood. An entire generation may have grown up on light frothy rom-coms that Hollywood used to churn out in a dozen back in the day. But that very generation has now grown up and is navigating complexities in life. And thus, Kristoffer Borgli’s latest dramedy, The Drama, may resonate with many of its viewers. Featuring Zendaya and Robert Pattinson in the lead, Borgli’s film explores love in the time of violence, accessibility and wokeness.

At the onset, filmmaker Anubhuti Kashyap’s latest film Accused, featuring Konkona Sen Sharma and Pratibha Rannta as a queer couple in London, feels like a smart thriller that attempts to tell a strikingly new story. Sexual harassment at work and power dynamics in a marriage where both partners are ambitious are tropes well known. Urban romances mostly revolve around two individuals attempting to strike a balance between romance and the regular humdrum of life. However, Kashyap’s film Accused takes the familiar trope but gives it a unique twist. It has a queer couple in focus, with one of them dealing with charges of sexually harassing colleagues at her workplace. Strikingly new plot for Bollywood for sure.