Posts Tagged ‘Sanjay Mishra’

If you are a regular follower of the blog, by now you must be aware of our association with this week’s release, Neeraj Ghaywan’s Masaan. That’s why it’s bit difficult for us to be impartial about it and so we haven’t reviewed the film.

Our friend Avinash Verma has come to our rescue, and hopefully, impartial too. Here’s his post on the film. (Mild SPOILERS)

Out now cover

How do you cope with someone’s unexpected loss who you imagined spending the rest of your life with? All those dreams come crashing down, tears pouring through your eyes incessantly for days and months. How hard is it to move on, to Fly Away Solo (which is the English Title of Masaan)

Whose moral is it anyway? Why is sex still a four letter word? Is ‘Jigyaasa mitaana’ (Curbing the curiosity) a sin even when you are a consenting adult? Is the people making love inside a rented hotel room less moral than the ones necking in a public park?

These are some of the questions that this film tries to grapple with. The title ‘Masaan’ means a crematorium, a place where life ends but this ‘Babel-ish’ film is about hopeful happenstances from which life reemerges.

Vidyadhar Pathak is an ex Sanskrit Professor scraping the bottom (of Ganga, quite literally here) to pay off the ransom to a corrupt police officer to prevent his daughter from becoming a YouTube ‘viral sensation’.

The daughter, Devi (Richa Chadha), is a computer teacher who is now looking for an escape from the narrow streets and the equally narrow mindsets of the citizens of Kashi, once the glorious abode of the omniscient sages, now a pit of greedy police inspectors and judgmental, vulgar MCPs.

Deepak, the guy who wants to get out of the rut of crushing dead bodies’ skulls at Harishchandra Ghat falls in love with poetry loving Shaalu (the cherubic debutante, Shweta Tripathi), the youngest one of the upper caste Gupta family who leave no chance to take pride in their family name, even if it is at a random Dhaba on the highway which has absolutely nothing to do with their clan. It might as well be someone way below their caste cooking the food inside the kitchen, but for them, the food is delicious coz the joint is owned by ‘Guptas’ (albeit ‘Salad baasi tha’ coz cribbing is our national pastime)

I wish the Guptas knew this before the tragedy.

 First love is special, for everyone, no matter how long or short does it last & to capture that innocence, charm and hormonal curiosity is what Masaan does exceedingly well. The heart shaped balloons, the glances exchanged in stealth mode, the endless conversations on CDMA phones, the insistence on calling each other ‘Tum’ & not ‘Aap’, the surprise bike/boat rides, the awkward, confusing yet celestial first kiss, the ingenuous gifts, the fights, patch ups and the determination to conquer the world coz she is not afraid to elope with you and you got to be prepared if it ever comes to that.

मैं हूँ पानी के बुलबुले जैसा, तुझे सोचूँ तोह फूट जाता हूँ … That’s exactly how fragile you are when cupid strikes you for the first time.

In ‘As good as it gets’, Jack Nicolson’s character pays a compliment to Helen Hunt’s saying “You make me want to be a better man”. Aren’t all love stories essentially that? The struggle to become a better person because deep down you know that the one who loves you deserves a way better version of you. Deepak’s struggle to become the better man before and after his personal apocalypse is what left me emotionally consumed.

It would have been very interesting the see what would have happened if Deepak-Shalu’s story had moved forward the way we were expecting it to but… well.

The grief is real. Deepak, Devi & Vidyadhar, all three are going through hell & it’s beautifully portrayed by Vicky Kaushal (Whatte brilliant debut!), Richa Chadha & Sanjay Mishra (I felt that Vidyadhar is just an extension of the good natured Babuji from Ankho Dekhi, and that is, IMO, perfect casting). The crying, the silences, the empty gazes into space imagining the various ‘What ifs’, sitting like a zombie in front of a TV that asks you to recognize an actor’s badly morphed face to win a lottery, the yearning for closure, the desperation that lets you risk a child’s life for money, the frustration that makes you smack your daughter and the helplessness that makes you cry in her lap, the uncontrollable wailing in the arms of friends who are clueless how to console you coz they simply don’t know how to and throwing away the things that doesn’t let you let go of the memories of your loved one and then immersing yourself into deep waters to find them back again.

The conflicts are real. The tears are real.

And that’s precisely why you should see Banaras & its four residents via Masaan’s lens. The silences speak volumes and some frames are more eloquent than some films could ever be in their entirety.

Except the oddly convenient intersection of both the narratives at the end, this film, rich with character, atmosphere and superb situational humor, is an extremely self-assured debut (of the director Neeraj Ghaywan, the screenwriter Varun Grover, and the editor Nitin Baid) and has so much to offer that the climax don’t bother you that much.

Bhor’ engulfs you by the time the lights come back in the theatre and all you want to do is to fly away, solo.

PS: Loved the fact that Inspector Mishra had a daughter. Wished that Sadhya ji got more screen time.

(Avinash is an Ex-MICAn. His full time job is to watch movies and in his free time he pretends to be a Digital Marketeer. He loves indie films and likes to be comfortably numb whenever he can. Also, hates all the ads Ranbir Kapoor is in. His earlier post is here.)


After winning accolades and prizes at Cannes Film Festival, Neeraj Ghaywan’s debut feature, Masaan is all set to hit the Indian screens on July, 24th. The poster and the official trailer is out too. Have a look.

Official Synopsis

Winner of the FIPRESCI prize and Promising Future Award in the Un Certain Regard section at Cannes 2015, Masaan revolves around four lives intersecting along the Ganges: a low caste boy hopelessly in love, a young woman ridden with guilt of a sexual encounter ending in a tragedy, a hapless father with a fading morality, and a spirited child yearning for a family- as they try to escape the moral constructs of small-town India.

Set against the divine landscape of Banaras, Masaan is a celebration of Life, Death and Everything in Between.

Cast & Crew

Cast – Richa Chadha, Sanjay Mishra, Vicky Kaushal, Shweta Tripathi, Pankaj Tripathi

Produced By: Drishyam Films, Phantom Films, Macassar Productions and Sikhya Entertainment
Screenplay/Lyrics: Varun Grover
Director of Photography: Avinash Arun
Editor: Nitin Baid
Music: Bruno Coulais
Original Songs by Indian Ocean
Directed by Neeraj Ghaywan

For more info, its FB page is here and Twitter feed is here.

It seems like another good year for desi indies at Cannes. Two films have been selected in the Un Certain Regard section of the Cannes Film Festival this year, and interestingly, both the films are Indo-French productions. Masaan (Fly Away Solo) is directed by our own Neeraj Ghaywan and written by Varun Grover. Both are editors and contributors at moiFightClub.

The second film is Gurvinder Singh’s Chauthi Koot.

Here are the details –

MASAAN (Fly Away Solo)


Four lives intersect along the Ganges – a lower-caste boy in hopeless love, a daughter ridden with guilt of a sexual encounter ending in a tragedy, a hapless father with a fading morality, and a spirited child yearning for a family, long to escape the moral constructs of a small-town.

Neeraj Ghaywan had won the Global Filmmaker Award at Mahindra Sundance 2014 for Masaan, and was also part of the prestigious Mahindra Sundance Screenwriters’ Lab (Now Dhrishyam Sundance Lab).

The film is an Indo-French co-production produced by Manish Mundra, Macassar Productions, Phantom Films, Sikhya Entertainment, Arte France Cinema and Pathé productions.


Richa Chadda, Sanjay Mishra, Vicky Kaushal, Shweta Tripathi, Vineet Kumar, Pankaj Tripathi, Bhupesh Singh, Bhagwan Tiwari, Satya Kam Anand and Nikhil Sahani.


Director : Neeraj Ghaywan

Writer : Varun Grover

Editor : Nitin Baid
DoP: Avinash Arun Dhaware
Songs composed by: Indian Ocean
Background score: Bruno Coulais
Sound: Sanjay Maurya, Allwin Rego & Gilles Benardeau
Casting Director: Mukesh Chhabra
Costume: Shruti Kapoor
Production Design: Ranjit Singh
First Assistant Director: Karuna Dutt
Co-produced by: Dipa De Motwane

Associate Producers: Ranjan Singh and Rati Shankar Tripathi.

Chauthi Koot

Chauthi Koot (Fourth Direction), Gurvinder Singh’s second movie after Anhe Ghore Da Daan, is based on two short stories by Punjabi writer Waryam Singh Sandhu. Chauthi Koot has been co-produced by Kartikeya Singh and Sunil Doshi in India, and Catherine Dussart in France. The film is about the state-sponsored crimes of the 1980s and the resistance movement it spawned.

It’s that time of the year again. And in our Rewind series, we look back at the best of the year. This post is all about the musical discoveries we made this year. And mostly non-bollywood. The songs may or may not have been released in this year. Hope you have fun going through all the links. Here are the top 14 music gems of 2014, in no particular order.

  1. Omar Faruk Tekbilek – We fully subscribe to the maxim that if you want to travel places without travelling, do try and get hold of the music of that place first. Music would give you good insights about a place by the instruments used, texture of the sound, use/absence of electronic instruments etc. So when someone gifted me the entire collection of Omar, who is from Iran, and I played it, cliched as it might sound,  I was transported to the deserts of the country. We suggest you get hold of his work and let us know if you also feel we should dig deeper into the sound of that region. Meanwhile, explore whirling dervishes here

  1. Sanjay Mishra – It’s surprising how much I have heard Sanjay’s work since last few years, and even then it didn’t occur to me that I must tell you about this man. A fabulous musician with top class sensibilities about the sound quality. Allow us to suggest ‘For Julia’ to get started. Would you believe that when i wrote this post last year, Sanjay Mishra’s Chateau Benares was playing in the background and still, i forgot to feature him in that list. This is what his music does, melts in the background and doesn’t intrude. Be it for a lazy afternoon or a dreamy evening, Sanjay Mishra just fits in! Thank you sir!

  1. Nescafe Basement – Post Rohail Hyatt’s Coke Studio, there were serious attempts at replicating the setting (And the colors!) along with music on other platforms. Some were outright ridiculous and some embarrassing. What set Nescafe basement apart was its choice of  music. Add to it the fact that the songs didn’t embarrass the listener and you have a winner! Varun Grover pointed us to Lari adda a year ago which was quite nice but we discovered Ankhiyan udeek diyaan this year from them and it is brilliant! Do check it out!

  1. Jaag Musafir – Rohail Hyatt – I am not based in Pakistan nor do I claim to have any information about the music scene there. I stumbled upon this song on youtube and then searched a bit more to find this complete album, supposedly from Rohail Hyatt. The sound has Rohail Hyatt written all over it. Do listen to all the tracks if you haven’t already and be prepared to get zoned out completely! Our top find of the year, This!

  1. Bombay Dub Orchestra – The song Mumtaaz dragged us to explore Bombay Dub Orchestra. To some of us, Mumtaaz might sound a tad filmy but that is not necessarily a bad thing. Flute and subdued vocals can weave magic isn’t it?  What is Bombay dub orchestra?

To quote from their website

“Bombay Dub Orchestra was formed almost ten years ago following a trip to Bombay, India, by Garry Hughes and Andrew T. Mackay. They’d gone to record with the city’s strings orchestra a few years earlier and decided to take advantage of the relationships they’d built up with musicians in India to create their own project. It took another three years to talk about the idea and a further three years to write, record and release their debut self-titled album.” The sound is unique and their ‘stuff’ is quite addictive. We hope to hear more from them.

  1. Bent Notes of The Bauls – When the genius of Vishwa Mohan Bhatt and Jerry Douglas come together, we sit and listen. This was released in 2013 and thanks to a famous lyricist who shared it with me this year, this folder has never been deleted since.  Each and every track from this album is a gem but somehow, this particular track reminds me of my childhood morning and all good things that are attached to it. (Raga purists, please excuse me if this isn’t a ‘morning raga’, I honestly don’t care)

  1. Susheela Raman – Queen between – Looks like 2014 was a good year for ‘everything Queen’. Susheela Raman really put her heart and soul into creating something which is different and not just for the heck of it. Susheela decided to collaborate with  Pakistan’s amazing Rizwan-Muazzam Qawwal and Rajasthan Maestros Kutle Khan and Nathoo Solanki, as well as her longstanding accomplices French Cellist Vincent Segal and Producer/Guitarist Sam Mills. What came out was a sound that was unique and enjoyable. Give this a try, and recollect if something like this was attempted anytime in the recent past.

  1. Abdullah Qureshi’s medley – You can check this out here – Pakistan is brimming with musical talent and range, this isn’t news anymore. While it is easy for anyone to hold guitar and pay ‘tribute’ to any song in their own way, Abdullah chose all the popular songs in this piece and boy did he do a good job! In spite of my generously lacking abilities to ‘gauge the correctness of a song, cross referencing it with ragas and western symphonies with a middle eastern bias thrown in’, I couldn’t for the life of me find a single instance where Qureshi went wrong in this song. Check it out!

  1. Paban Das Baul – I wanted to write and introduce you to the music of honey gatherers, which for some reason doesnt show up as ‘play enabled’ in youtube, but you can hear it here. Again, recommended by a close friend earlier this year,  it’s a pity it took me (not fightclub, but me personally) such a long time to discover his genius. Give this also a try

  1. Sher Khan – Pathans are cute and to further this point in a unique style, Ahmed Siddiq gave us a song that made us strum the air guitar and laugh in equal measure.  Check it out here – how cool is the guitar!

  1. Rudoh – With so much of Ghazal-sque, sufi and fusion coming out of Pakistan, it took us a lot of ‘hits’ to Rudoh’s (Real name – Humayun) soundcloud page to convince ourselves of his sound. Rudoh is contributing to the electro scene in Pakistan and while I am not the greatest admirer of the sound, I have been stuck on Highlands) for a fairly long time. Interesting sound, interesting times! Here.

  1. Asrar – Call it a sheer coincidence or God’s way of ensuring we didn’t judge a good artist just because he was subdued owing to a below par platform, much before Asrar made an underwhelming appearance on this year’s overproduced and nearly cacophonous Season of Coke Studio Pakistan, we heard a lot of his songs, and boy, were they good! Allow us to share just 3 out of the many songs of his

    1. Check out Allah he de ga (our absolute favorite!)

    2. Then check out Waris Shah

    3. And Boond boond and then one bonus…

    4.  And last – Jahan daikhoon

It really takes special talent to screw up such a good artist and in spite of the underwhelming presentation of Asrar in Coke Studio Pakistan this year, we hope he gets noticed (Bhatts, you listening?) a lot and we hear more from him.  (Don’t judge his songs by the quality of the videos)

  1. Sulk Station – As conceded above, I am terribly late at discovering some really cool ‘stuff’ (but then none of you recommended it either, so part blame on you too!). Sulk Station is band from Bangalore formed by Tanvi Rao and Rahul Giri,  whose sound is essentially electronic/trip-hop (to quote their website). In spite of not being too big a fan of ‘electronic’, I couldn’t help but fall in love with Bindiya and Take me home – seriously, good sound!

  1. Yaar Anmulle – Just look at the number of plays since the time it was uploaded in 2010 on youtube!  This is what I call a Punjabi ‘purani jeans’. Essentially a ‘boy song’ but the  insanely enjoyable video and super lyrics  make it a riot for anyone who likes to swing to old memories. Trust me, you don’t have to be a Punjabi to understand the song. I can say that because I am not a Punjabi! Just see the video once and you will know what I mean!  Sharry Mann, you da man!

So what sounds did you discover this year? Let us know in the comments section and enlighten our soul.


Rajat Kapoor’s new film Ankhon Dekhi opened with rave reviews. Though it has been a limited release, if you still haven’t seen it, do watch. It’s easily one of the finest films of the year. And if you have seen it, here’s Fatema Kagalawala on what worked and what didn’t. Read on to see if you agree or not.

“Rather than love, than money, than fame, give me truth.” ― Henry David Thoreau, Walden

ankhondekhi-4b (1)

Are stories set in a real-life world created with an unimaginable honesty, enough? Remember this line as you read along.

There are films that are character-centric, there are films that are character-driven, there are plot-driven films and there are those where the idea looms large enough to swipe everything under its shadow. Ankhon Dekhi is one of those films. Truth is your inner truth, your own truth, what you can see and feel and experience. Can a theme get more universal and personal at the same time than that? Can a theme get more exciting, thirsting to be explored threadbare than that?

“There are only two days that are important in life; the day you were born and the day you realise why.” – Mark Twain

Bauji has an eiphany one day and he must follow it because suddenly he has realised why he was born. He must follow his own truth and his own truth will only be that which he has experienced. Soon, the meaning of his entire life changes. He leaves his job as a travel agent because he hasn’t seen any of the places he regularly recommends and hence it is a false existence, something he cannot allow in his life anymore. “Rather than love, than money, than fame, give me truth”, Bauji could easily have been Thoreau. Or Maya Angelou who when asked what is right simply said, “Truth is.” His loving wife and daughter indulge him, his younger brother, tired of hauling material responsibilities leaves him, his loyal fans follow him blindly and we have a picture of life as we all have seen unfolding in our own worlds.

Creating a world to touch and feel

Every film is rooted in its own ideology and born of it, whether it likes it or not, whether it is conscious of it or not. Rajat Kapoor’s cinema seeks to question consciously and that is the joy of watching his films. In Mixed Doubles he questioned the idea of monogamous relationships, in Mithya and Fatso identity and truth, in Ankhon Dekhi truth again. There is something very honest, at an intrinsic level, in his searching and nudging set beliefs. That draws you in and makes you take it seriously, keen to know if the journeys of his characters will somehow make your own easier and enlightened.

It does but not in the philosophical proddings. It does in the earthy, rustic (and inspired) casting of Sanjay Mishra, Seema Pahwa and others. It does in the lovely, early morning winter mist-like songs written by Varun Grover used beautifully. It does in the very common-sounding but carefully written dialogues. It does in the loving relationships we see functioning in what we see as a very average, very ordinary family. We smile when we see Seema Pahwa’s Amma, nagging but warm and soft-hearted wife and mother because we know her, maybe in our own mothers, wives, mother-in-laws, aunts, grandmothers or neighbours. Even if we don’t she seems familiar. Because she is real.  There is no artifice in her character or her performance and she appeals to us in a way no hot babe or heartthrob can aspire to. Like most women do, she forms the spine of the family, keeping it together emotionally yet invisibly. (If you disagree, imagine the family without Bauji. Then imagine the family without her). Getting her character right (and getting the brilliant Seema Pahwa to play it) is the first solid brick Rajat Kapoor lays in creating a world we cannot help but fall in love with.

As we gently land into the world we are welcomed by a ruckus over the inappropriateness of the friendship the daughter of the house has with a boy. Bauji protects her as Amma lashes at her. We then see Bauji’s younger brother Rishi (a terribly miscast Rajat Kapoor) step in to play the peace-making voice of sense role with a sigh; a role he has probably been playing for a long time now and is weary of. There is also the no-good younger son (a character that spirals the story even more out of focus in the second half) whom Bauji doesn’t know what to do with and we see that the irregularities of the family are as regular and middle-class as they can get. There is daily bickering, daily endearing moments, gentle warmth and regular disappointments as ordinary yet interesting for it, as the patchwork quilt the family cosily shrouds themselves in, in the cold nights of this North Indian town.

“The truth is out there!”

Bauji would like to believe so but there is a strong corollary to that. Only that truth is truth that is true to your experience. And hence begins a journey of a family dragged into this search of truth by the man of the house who now begins to appear a little senile to our eyes shrouded by practical concerns. We, as an audience become the family and Bauji the lone crusader trying to put out what he has discovered.

I tripped out on the promise of the premise completely.

“In a time of deceit telling the truth is a revolutionary act.” ― George Orwell

Truth does revolutionise Bauji’s life. The search for truth comes with a price, from Gandhi to Satyapriya, they all knew it. The price Bauji pays is to see his joint family breaking up. Rishi chooses to live separately with his family and the graceful Bauji lets him be. We sense there is a parallel search for one’s own truth unfolding elsewhere. Practical and material concerns do not provide us the middle-class luxury to indulge in fancy philosophical journeys; no, that’s for the elite. And hence the entire family rises up in arms against Bauji’s new avatar. Philosophy is costly but we forget that in merely surviving we let go of living. Subtly deceiving ourselves that this is what life is meant to be after all. For Bauji, surviving suddenly becomes an ugly word.

Sadly, his discovery does not become an expansive, life-affirming philosophical journey or a guiding light. Neither does it elevate itself to a deep, cinematic exploration of its theme. Like Matrix did for example.

Instead, we have a situation with little sub-text to the real theme, of his younger brother’s separation from the joint family. Animosity grows between the brothers, one that is treated gently and with love but does it contribute anything to the central conceit of the film? Yes, the younger brother is following his own truth but the film seems to be saying little about his journey, treating it with realist-humanist sympathy alone with no philosophical implications. A mere by-product of the mess Bauji has invited in his life by choosing what he has. That a sub-plot that crucial has little bearing to the theme than being a mere outcome seemed to me to be disservice to everyone included.

“Men occasionally stumble over the truth, but most of them pick themselves up and hurry off as if nothing ever happened.” ― Winston Churchill

The tender-hearted Bauji suddenly becomes a braveheart in our eyes because he finds in himself the courage to face the truth he has found. It isn’t easy, such conviction, but neither is it difficult because when you have an epiphany, when the clouds clear for that insoluble moment of time and the sun shines brighter than it ever has, all shadows fall away, and the truth stands alone, refusing to be blind-sided, refusing to be hidden by rationalisations yet again. With such truth such courage comes as default. One has no other way. Yet, Bauji’s truth does not become ours nor egg us to seek ours. It gets lost in the whimsy of card-playing popularity, fan-following herds, and placard-holding eccentricities. None of which are organic or dynamic. They remain interesting plot points, the ‘coulds’ one writes on the margins of a script when at crossroads of plot development.

It’s almost like Rajat Kapoor himself stumbled over the truth, picked himself up and hurried off as if nothing happened.

And that killed the film for me. A theme as rich as that I found aimlessly tossed around, especially one with a very honest intent and one that is completely devoid of posturing. I know what became of Bauji but was it an organic growth or a cop-out? To me it seemed like the latter. Not that I know, but the alleys of truth must be convoluting, without easy answers, especially since so many of us know so little about it. The end of Bauji’s search seemed very easy. And his journey very unmindful as well. For a man who has found the reason of his existence, one which has been turned 360 degrees, he seemed to be acting more from whim than a focussed intent. Because whim is superficial but intent helps you delve deeper. If Bauji’s character had truly delved deeper he wouldn’t be going on trips to the zoo very late in the second half to establish a point he had painstakingly established very early on. If his character hadn’t taken an eccentric turn he wouldn’t suddenly become the lucky charm of a small-time Mafioso. His character seemed to be truly seeking and struggling, breaking free and revolutionising all that we know of an average man’s search for truth (notice the paradox in the statement) when he took to standing on the chowk holding confounding placards embarrassing his family. But suddenly, there was no movement in this journey. And a brilliant plot point became a mere set piece contributing nothing to anything.

 “The more I see, the less I know for sure.” ― John Lennon

Is this why Bauji ends up the way he does? We don’t know, however we are led to believe that he has come to a fructifying end to his journey. With the end as he chooses for Bauji, Rajat Kapoor seems to want to put an existential spin in the narrative which is as exciting a thought as his original theme. But there are no questions raised before we are led to this resolution. Nor is there an indication of a journey that seeks a proper close. The end comes and goes, just like Bauji’s epiphany, leaving us cold when it should have ideally left us shivering with goose bumps. Maybe inches closer to our own spiritual or intellectual thirst. That is because we did not see enough. Deep enough. Of Bauji and his thirst, his angst of marrying his new reality with his old, or a trajectory that led to his resolution that seemed to satisfy him. The film is linear and not episodic, however treating his journey as episodic fails the entire structure of the film and the audience, who by the middle are expecting more. Not answers, no one has them nor they can give anyone (Your truth is your own, remember?). Nor was it the intent of the film to provide ready ones. It was the experience of the search, the pain, angst, growth, questions, answers, trials and peace. Logically, all of this exists in the film but tattered and scattered, making little sense, not feeding off each other as it should and hence coming across as an under-played game of TT where no one wins.

Aldous Huxley once wrote, “Experience isn’t what happens to a man, it’s what a man does with what happens to him.”

I think that just about sums up, at many levels, what I feel about the film.

– Fatema Kagalwala


Ankhon Dekhi Poster

We are a bit late on this one, but we still thought we ought to feature it nevertheless. The poster and trailer of Rajat Kapoor’s Ankhon Dekhi arrived online sometime back- and while we are not quite sure how well they sell the film or convey what it’s really about- they give us a feel of the world it’s set in.

Some of us happened to see the film a while back and the reactions were pretty good. It’s an oddball, quirky film that goes through some distinct shifts of tone but always remains interesting and thought provoking. It’s also powered by some good performances from a strong cast led by Sanjay Mishra.

Here’s the trailer of the film, followed by the synopsis:

‘Ankhon Dekhi’ is the story about ‘Bauji’, a 55 year old man, who lives a dreary but eventful life in a joint family, that shares a small house cramped with people and drama. One day Bauji has an epiphany and decides that from that point on he would only believe what he sees with his own eyes, nothing else can be certain. There are a quite a few challenges on his onward journey- but Bauji never loses sight of what is before his eyes.

Produced by Manish Mundra, the film has been written and directed by Rajat Kapoor, who also stars in the film. ‘Aankhon Dekhi’ also features Sanjay Mishra, Seema Pahwa, Taranjeet, Maya Sarao, Namit Das, Brijendra Kala and Manu Rishi Chadha.

Varun Grover, lyricist and our editorial member, has written the songs for the film.

And here we have an interview of Rajat Kapoor where he speaks about Ankhon Dekhi and the challenges of making his brand of cinema.

The film is directed by Subhash Kapoor and stars Rajat Kapoor, Neha Dhupia, Manu Rishi, Amole Gupte and Sanjay Mishra. Its distributed by Warner Brothers.

According to official release, Phas Gaye Re Obama is a comedy set against the backdrop of global recession. The film traces the journey of Om Shashtri, an American citizen of Indian origin, who loses all his wealth overnight to the global recession & has been asked to vacate his home by the bank unless he pays up $100,000 (mortgaged amount) within 30 days.

Seeing no other option Om comes to India to sell a small piece of an ancestral property. But within days of landing in India he is kidnapped by a ‘recession-hit’ underworld gang those who think that he is still a millionaire. What happens to Om, is he able to save his home, how did the ‘poor’ gangster cope with their ‘poor’ catch & what do small town Indian gangsters have to say to President Obama… that’s what the film is all about.