“Heroism in our cinema is usually of two types: Active, where the hero questions something wrong that happens around him, and Reactive, where he reacts to a wrong done to him. I don’t know if it has been done in Indian cinema before, but we came up with the idea of a ‘Proactive’ hero in Thani Oruvan.”
“When this city was created, it was a land of opportunity for those desperate to escape oppression and seek a new life,” he says. “Who do you think created all these landmarks: Central station, Binny Mills, the post offices… everything that we today value as heritage? But have we truly repaid them for these sacrifices, or have we simply relegated them to a corner we barely pay heed to?”
Ahead of the release of Raat Akeli Hai, Nawazuddin Siddiqui, Radhika Apte, and debutant director Honey Trehan talk about smaller films and OTT releases, fixation with fairness, mental health and more Our cinema theatres are notorious for their lack of quiet, and while this makes them tremendous spaces of revelry during screenings of mass cinema, genre-loyal…
If not for the pandemic, I think the James Bond film, or something else, may have eclipsed us. Regardless, this is an honour, and we are happy.
“I believe that an answer through cinema to propaganda becomes reverse propaganda. We must stick to discussing facts.”