NYT: ‘Masaan’ and Other Indian Films Steer Away From Bollywood Escapism

Not a huge fan of this sort of piece, with its neat (perhaps even imaginary) “before/after” dichotomy, and its lack of any nuance in writing about popular cinema (not to mention the pretty explicit, and inaccurate, classist assumption that the upwardly mobile are leading this revolution; or the notion that being “in tune with the movements and language of global cinema” is the only respectable way — that way lies the illusion that we are telling new stories, about different people, but unfortunately the stories are increasingly being told in the same way the world over), but hey, can’t NOT post this 🙂  — Qalandar

EXCERPT: “At the Cannes Film Festival this year, “Masaan” won the Fipresci Prize, awarded by international critics, and the Promising Future Prize in the Un Certain Regard section, becoming the first Indian movie to receive two awards at Cannes since the Oscar-nominated “Salaam Bombay” in 1988. “Masaan” is the surest sign yet that a fresh crop of filmmakers is ushering Indian movies in a new direction in tune with the movements and language of global cinema.”

Read the complete piece HERE.

8 Responses to “NYT: ‘Masaan’ and Other Indian Films Steer Away From Bollywood Escapism”

  1. This seems to imply that Masan was a hit , Wow !!!
    Aside- Finally saw Bombay Velvet- kya pakau pichchar hai !!

    Liked by 1 person

  2. agree completely with your note. Made a related point to someone else earlier today…

    [Of course I have a certain impatience with the whole idea that this is ‘new’ and so on. Such films have always been made. Not to deny the ‘auteurist’ difference here and the degree to which this now seems to be a parallel stream in Bombay but the archive was certainly there before this. An even stronger case could be made in this sense with reference to some of the ‘regional’ industries. ]


  3. Vivek Agnihotri ‏@vivekagnihotri · 5h5 hours ago  Mumbai, Maharashtra
    The news is out that Mr Palekar was the only one against #Court for the #Oscars


    • rahul rawail ‏@RahulRawail · Sep 23
      Jst wanna clarify tht am proud of Court n fully support its selection I resigned from th Oscar jury bcoz of Mr Palekars obnoxious behaviour


    • .

      For those who have not seen ‘Court’ yet, would you like to tell us what’s the prime reason behind the selection of the film. What do you think is there in the film that sets it apart from the rest and might help it win?
      For starters, the whole style of the narrative is something you don’t generally get to see every day in every other film. The different layers in the film and the tediousness of going to court in India is something that even you would empathize with when you watch the film.

      Could you tell us which were the other films which were closely contending with Court?
      I am sorry but I am not permitted to reveal that.

      Coming back to your resignation, Suparn Sen, secretary general of Film Federation of India (FFI) has said that your claims are “ridiculous”. Comment.
      First of all, Suparn Sen has not been a part of any of the deliberations in any which way so he absolutely has no right to comment. I am surprised and shocked at his statement. Moreover, this is a problem between Amol and me and I don’t think anyone else needs to get involved in this.

      Lastly, you said that Amol Palekar’s behaviour was “obnoxious”. What actually did go wrong?
      There’s a lot of manipulation that happened inside that room. Turning votes, incorrect counting of votes, declaring false number of votes are few of them. I demanded for a re- poll. I asked Amol to show me the votes, let me see them but he refused. I clearly told him that I don’t trust him at all. I pushed and pushed for re-counting and what shocked me was that the voting count of three films were wrong.

      One is not supposed to bring anyone with them inside the jury room and during the selection process. But Amol Palekar brought along his associate which is not permitted. His associate was trying to influence all the jury members which is absolutely against the ethics.



    • According to this source Palekar did not favor Court until the very end of the deliberations. His original choice was Neeraj Ghaywan’s Masaan.
      Thank God Masan was not selected !!! Saala Kashyap bhakts chaudey ho gaye hotey khamakha !!


  4. Omg kitna politics hai !!! India mein each step is laden with political overtures.

    The makers / directors are all ghaati and one would think Marathi Manus Palekar will be the last one to oppose but guess it’s the crab mentality at work here.


  5. I just realized referring the Maharashtrians as ‘ghaati’ is somewhat derogatory so i am sorry if anyone is offended here. Meanwhile my comment may be edited / deleted if required.


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