Tatsam Mukherjee

Sometime in December 2020, Icelandic mountaineer John Snorri was on the cusp of making history. He was getting ready to scale the second highest mountain peak, the K2, in the winter. Around then the temperatures go down to -60 degrees celsius near the peak. Compounded with the steep incline of the K2 (part of the Karakoram range) with winds blowing up to 150 mph, even experienced mountaineers dubbed it as a tricky climb. Every other record in the mountaineering world had been achieved. Having arrived in Northern Pakistan a good two months in advance, to help himself acclimatise to the conditions, Snorri – with his Pakistani counterparts, Ali Sadpara and his son Sajid – looked set to take on arguably the most gruelling climb ever attempted.

I found myself tearing up a few times while watching Sriram Raghavan’s Ikkis. It’s not because of the film alone, which is based on the military service of India’s youngest Paramvir Chakra awardee, Second Lt Arun Khetarpal – who died during the 1971 Indo-Pak war. It had more to do with the Bollywood war film – a genre that has assumed the responsibility to rile up obvious jingoistic sentiments, thinking it’s the only way to make itself a successful enterprise. Raghavan is too much of a ‘thinking’ and a self-assured filmmaker to give into the temptations of the box office. We’ve also seen dozens of these idols exhibit feet of clay in the last decade.

Has James Cameron been trapped in the metaverse longer than we have? The 71-year-old director reportedly spent over a decade working on what eventually became Avatar (2009), and has been involved in making its sequels Avatar: The Way of the Water (2022), the latest Avatar: Fire and Ash released on Friday (December 19), and another film in the making – making it a cumulative 30 years spent on four films, set on the faraway planet of Pandora.

There came a scene in Prabhash Chandra’s Alaav (which as the English title Hearth & Home) when my jaw dropped on the floor. A 60-something Bhaveen is helping his 90-something mother, Savitri, relieve herself. It’s the part of a caregiving film, where most filmmakers prefer implying it by either starting the scene before or after the said deed. But in Alaav, the camera (thanks to the dependable ingenuity of cinematographer Vikas Urs) remains strategically placed, straddling a pencil-thin ethical line – where on one side they could be accused of being voyeuristic and exploitative; on the other end, it could be held for trying to lessen the blow of a hard-hitting reality. Remaining true to its static, observational style – the scene went on for longer than I was ready for, making me shift in my seat uncomfortably. It’s only then did I recognise what Chandra was trying to highlight – the selflessness of it all. We hear truisms like ‘being of service’ to something bigger than us, but nothing quite tests it like when we take care of a loved one in a hopeless situation, and when everything is only steadily regressing.

Bollywood can’t just stick to making films anymore. Successful films need to be a clarion call for a ‘higher’ purpose. Whether it’s the Kashmiri Pandit exodus in The Kashmir Files (2022), the sadistic torture of a Hindu king by a Mughal emperor in Chhaava (2025), or a visibly deranged man offering his unsolicited opinions on everything, talking at the speed of thought, in Animal (2023).

It takes a special kind of film to be aware of its surroundings. It is one thing to fetishise nature and invite comparison to the sweeping scale of a Terrence Mallick film but Clint Bentley’s Train Dreams does something interesting with the vessel of a meandering Mallick film. It cuts and splices the essential bits of a man’s journey fuelled by cosmic wonder: the meaning of it all. And it does that using a specific means: a voiceover (by Will Patton).

Despite its shortcomings, one thing that is impressive about Vibhu Puri’s Gustaakh Ishq is that it’s not tentative about what it wants to be. No pretence or excessive self-awareness – often a crutch for films afraid to go the distance, hedging against becoming a laughing stock. In an age when Hindi cinema has been pilloried as ‘Urduwood’ by right-wing trolls, it’s heartwarming to see Puri’s film reclaim and revive the Muslim social film.

In episode four of the third season of The Family Man – Srikant Tiwari (Manoj Bajpayee) gets nostalgic. He asks JK (Sharib Hashmi) if he remembers Kareem – a dissident Kashmiri student who was killed in the first season because of Srikant’s misplaced suspicion. I might be reading too much into it, but it almost felt like creators Raj Nidimoru, Krishna D.K. and Suman Kumar were getting wistful about a time during the first season when there was endless possibility.