Indian movies are embracing the fact that real relationships can be messy because individuals are.
Why should a completely legal economic activity need the permission of an extra-constitutional bully like the MNS? And why is the state continuing to look the other way?
This week’s column examines the creative ways, other than comedic skits, with which people choose to express political dissent.
Who are these people – the ones who are so fundamentally insecure about whatever it is that they claim to love – that a movie’s name, dialogue or plot turns their devotion to agitation?
There remain and will always remain, on both sides of the border, peace-loving citizens who will reach out to each other and say: “I friend you for life”. And the movie supports this message.
A fortnightly column from The Wire’s Public Editor.
The movie also ventures into subjects that Bollywood romantic drama is not usually known for: acceptance cloaked in rejection, the interplay between the past and the present, between forgetting and remembering.
Why the ‘deal’ struck between the MNS and Karan Johar is nothing but state-sponsored extortion.
Johar has decided to put a special mention in the beginning of the film paying homage to the martyrs.
It is easy to criticise the filmmaker, but with barely any support from within the industry and the threat of violence, there was little else he could do
In terms of being a distraction from the hyper-nationalism going around, the Mumbai Film Festival couldn’t come at a better time. And there’s plenty to look forward to.
The Cinema Owners Association says its decision not to screen the film in four states is in keeping with the public’s sentiments.