#Bollywood film critique

[techsavvybox]

Dream Girl 2 Movie Analysis: Ayushmann Khurrana's Latest Offering Blends Romance and Comedy, But Does It Hit the Mark?"

Ayushmann Khurrana’s movie is a follow-up to his popular romantic comedy Dream Girl from 2019. He was depicted playing the part of a call girl, thus catfishing individuals into falling in love with his on-the-phone character Pooja. The film’s narrative was original and unexpected, yet it also addressed significant topics such as female everyday problems including loneliness and melancholy. Dream…

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[lokeshbhandarimovies233]

Welcome to Lokesh Bhandari Review, your ultimate entertainment hub for insightful reviews! Dive into in-depth Web Series Reviews that spotlight the latest streaming hits, explore our curated OTT Movie Reviews for must-watch films, and enjoy expert Movie Reviews of recent blockbusters. Uncover hidden gems with our Under-Rated Reviews**, discover fresh content in Other OTTs, and relish nostalgic insights with our Retro Reviews of classic films. Stay informed and entertain

[nicolos]

rocky aur rani thoughts

it wasn't at all what i expected actually? like I'm not sure what I expected but it wasn't that

rani chatterjee let me raid your wardrobe

they really just promoted tum kya mile and jhumka because there were like no other really memorable songs--

I sound a bit mean but I had a blast, I laughed a lot, did tear up at least once, and didn't want to pull up 2048 at any time during the film

(spoilers under the cut)

the film had some real 2011 style feminism moments mixed in with more genuine things? the interview at the start made me want to die but there were some almost - ALMOST - coherent points in there

bollywood is not the place to make statements about fat shaming etc etc but there was almost smth valid in seeing any jokes about what whatshername ate clearly coming from ...people were not supposed to like?

rocky and rani were actually quite sweet, despite the ...extraness

i think the film kind of rolled over this as rocky was supposed to be wealthy, but there's a great deal of elitism in the sort of attitude Rani and her family have towards Rocky. It makes me wonder what this film would be if he didn't ... colour coordinate his cars to his clothes and live in a replica whitehouse. like on one hand it's arguably his wealth that makes him able to be the way he is, but on the other hand, the traditional/modern divide that they were showing is typically also a class divide. there's no reason for rockys english to not be good as he is now - and nothing apart from personal taste and "traditionalism" for them to critique, even though rocky isn't actually that traditional in comparison to his family, and even if he was, they - esp at the start - didn't know that

on the other hand I don't know a lot of Bengali people or a lot of Punjabi people so it may just be like a culture shock thing they're going for. idk. i understand it, i just think it's a little bit of a miss for a genuine criticism on their laughing at him

the grandparents element was funny lmao. like what's going on THERE. but it was almost kind of sweet, too, the way they just ...liked spending time together I guess

keh diya na... bas keh diya

^ half the cinema actually echoed this line with her. icons only

the film did pretty often pit men against men and women against women. this worked! when alia or her mom were yelling at men... this worked a little bit less? idk. i think sometimes it ends up feeling a bit mouthpiecey, and some of it was weirdly phrased and ...strongly delivered, to say the least. i understand that they're both from an environment in which they feel safe voicing their opinion, but I was nonetheless going - would someone actually say that? so openly? so maybe that's on me

everything about the alias dad storyline was just chefs kiss

i do think rockys relationship w his mom and sister needed a bit of work for the big fight scene to work. it sounds weird to say since so much of the film was abt the randhawas but ranveers mom's dynamics w everyone were a bit underdone

the guy playing young granddad was so hot. hotter than the real actor actually was back then tbh

all I could think during the ranveer dance routine was how much time did it take him to learn that dbdndndjdjf but that was excellent

idk. i think in some senses the scale of the movie interfered with its effectiveness, but I don't want it to be any smaller in the ayushmann khurana sense, if that...makes sense? idk. it did feel very kjo production, and I like that about it

tum kya mileeeee,,,, tum kya mileeeee,,,, hum na rahe hummmmm,,,, tum kya mileeeeee

ranis "i am speaking" was hot though the whole of that non-confrontation made me want to yell, though maybe because it was happening in public

SPEAKING OF when she crashes her car into his in the middle of a four lane road and then they just fucking stand there and talk and kiss for 10 minutes and all the other cars just go around....lmaoooooooo

still think the more obvious solution was for them both to move out of their family homes but ok

[imagitory]

With Disney's Wish, one thing I think that might have mildly improved the film might have been to change or rather narrow in on the aesthetics for it. The film wanted to go for a "Mediterranean" vibe , but I feel there is another Mediterranean historical area that might have fitted better for a story about the power of dreams and wishes- a place that was once known as "The City of the World's Desire"- Constantinople. While it might not help the movie, it may have helped its identity a bit more.

It does feel like the culture of the Mediterranean/Spain-esque setting for Rosas was really not taken advantage of, either in the look of the film or in its music. It's a critique I likewise have for Raya and the Last Dragon and (to a lesser extent) Brave, that the film really didn't have to be set where it was, since the story wasn't tied to any traditional folklore, environments, history, or even cultural values from the region it was set in. And considering that we've seen Disney embrace the culture of a region in their films' stories well in the past with projects like Lilo and Stitch, Coco, Encanto, and even Moana, that does seem like a real missed opportunity.

I would frankly love to see a Disney animated film set in Constantinople/Istanbul, though! There's so much beauty in Turkey and the rest of the Middle-East, both in its stories and its architecture, and I'd love to see some real representation for those cultures in Disney's animated work, especially including cast and crew from the culture they choose to depict. Even India I feel has been tragically passed over by Disney -- the closest the company's really gotten was the Disney/Pixar short Sanjay's Super Team (which was awesome) and half-assing some Bollywood influences in their live-action Aladdin remake that's still supposedly set in Arabia (which, I'm sorry, is kind of pathetic). And then yeah, it'd be cool to really feature Spain as a location for a Disney film too.

[mariacallous]

In 2010, Indian actor Shah Rukh Khan starred in a film called My Name Is Khan that served as a critique of Islamophobia in the United States in the post-9/11 era. In the movie, Khan goes on a journey to the United States to meet the American president and tell him that having an Islamic last name doesn’t make him a terrorist. In real life, however, his name has made him a target at home.

A year after Narendra Modi became India’s prime minister in 2014, Khan said there was a climate of intolerance in the country that “will take us to the dark ages.” Two days later, a senior leader of the governing Bharatiya Janata Party (BJP) and an acolyte of Modi, Yogi Adityanath, said Khan spoke the language of terrorists and equated him to the mastermind of the 2008 Mumbai terrorism attacks. Adityanath threatened Khan, saying he would be out of business if a “huge mass” of Indians, implying Hindus, boycotted his films. Since then, fringe political outfits linked to the BJP—and even some BJP leaders—have repeatedly attacked Khan.

The latest attack began when the trailer of Khan’s latest film, Pathaan, was released last month. Hindu nationalists of the BJP and those linked to the party expressed three major objections. First, that actress Deepika Padukone should not have worn a saffron-hued bikini in a song titled “Besharam Rang” because saffron is a sacred color in Hinduism. Second, the bikini was a few centimeters too revealing to be approved by the far right’s cultural police. And third, and more tellingly perhaps, they slandered Khan for his fitness, questioning whether the 57-year-old’s chiseled “six-pack” abdomen could possibly be real.

The charges were ludicrous. Bollywood actresses have worn saffron in sensuous songs before, but it’s never been so controversial. Moreover, Padukone wore a green skirt and several other colors in the song. The attack didn’t make sense, but it was nonetheless vicious. One protester on air, who was later revealed to be an actor himself, dared Khan to dress his daughter in a green bikini instead of Padukone, a Hindu actress. Green is a sacred color in Islam, and Khan’s wife is also Hindu.

“Had Deepika worn a saffron bikini opposite a Hindu actor, there would have been no controversy,” Hartosh Singh Bal, political editor of the Caravan, told Foreign Policy from Delhi in a phone interview. “It is all because [Khan] is a Muslim.” Several male Indian actors have flaunted abs before, and rare have they met with such ridicule.

Many people believe that the insidious campaign to discredit Khan emerges out of Hindu nationalists’ broader effort to humiliate minorities into accepting their secondary status in a country they want to claim for themselves. There have been frequent calls by the BJP to turn India into a theocratic state—a Hindu rashtra or a country predominantly of and for Hindus. As part of that bid, they hope to control Bollywood itself, the country’s biggest cultural force and its most effective messenger.

After #BoycottPathaan trended on Twitter, #BoycottBollywood soon followed. There were several well-crafted tweets, as if coordinated with one another, calling on directors to change their scripts and fall in line—or risk a total boycott. But this was not the first time Bollywood came under attack. Scholars who studied the trend between August 1 and September 12 discovered thousands of ghost accounts created over these months that solely tweeted with the hashtag #BoycottBollywood. More than 300 accounts each tweeted over 1,000 tweets on Bollywood over that nearly month and a half, “suggesting organized behavior,” said Joyojeet Pal, an assistant professor at the University of Michigan who conducted the study. Junior politicians of the BJP and of its affiliates were also discovered to be pushing the content.

Outrage on social media was to a large extent manufactured, but it is hard to say how many Indians genuinely approved of the sentiment. An investigation by news website the Wire revealed that many of the news stories that defamed Khan and called for Pathaan’s boycott reflected the views of political partisans rather than genuine protesters. Meanwhile, Pathaan has enjoyed enormous ticket sales, a resounding rejection of the calls to boycott Khan’s movies and Bollywood more generally.

Fans thronged cinemas in cities across India and at screenings abroad to see Khan return to the screen after a four-year hiatus. The controversies instigated around him—including outright falsehoods about how he had supposedly donated millions of dollars to Pakistan and was caught spitting at the funeral of Indian singer Lata Mangeshkar—did little to dampen public enthusiasm for his movie.

As Khan hopped between buildings, dived off planes, and walked on the facade of a skyscraper, all to save India from a terrorist attack, Indians across faiths seemed proud that Bollywood could also produce its own version of Mission Impossible and were eager to applaud Khan’s reinvention from romantic heartthrob to action hero. Even Indians abroad, who are arguably among the biggest believers in Hindu nationalism, rushed to screenings in the United Arab Emirates, the United States, the United Kingdom, and Germany. The movie has reportedly smashed box office records in India, and in the first 16 days since its release, it earned nearly $10 million.

Meera Rizvi, a professional scriptwriter whose maternal ancestors were ethnic Pashtuns like Khan’s, said she had little interest in watching the movie but attended a screening as an act of resistance to bullying from Hindu nationalists. “Bullies have been empowered by the right-wing government, and they think they can do whatever they want,” Rizvi said. “I went to see the movie to stand up against the bullying Khan has been subjected to.” Many others said they believed it was all a useless controversy. Anju Dhawan, an interior designer, said she didn’t understand why there was controversy at all. “Shah Rukh is an actor. Hindu, Muslim has nothing to do with it,” she told Foreign Policy from Karnal, India.

The crowds, however, did not indicate a rejection of political polarization. At least two highly educated professionals FP spoke to believe in Hindu nationalist propaganda, making unsubstantiated allegations against Khan. Political analysts told FP that Pathaan’s success did not indicate a change of mood in a nation still in thrall of Modi and the BJP’s broader political agenda. “It showed that Hindu nationalists still do not have the ability to wipe out the appeal of a celebrity who is a Muslim, just like Indians would cheer a Muslim cricketer,” Bal said. “It didn’t mean the mood of the country has gone a certain way.”

Last week, Indian press reported that Modi called on his ministers to refrain from making unnecessary comments that overshadow the government’s developmental work. But that message has come far too late to rein in the mob, said filmmaker Anurag Kashyap. “It was about controlling their own people. Things have gone out of hand now,” Kashyap said. “When you stay silent, you empower prejudice and you empower hatred. It has now got so much empowered that it is a power in itself. The mob is out of control now.”

[marimayscarlett]

If you’re still answering the movie asks… numbers 36 and 39 ☺️

36. which movie star would you want to meet?

If I had to answer this in an honest way, I'd say "none!", because due to being the hopeless fangirl that I am, encounters like these would be embarrassing and uncomfortable for all parties involved 🤠

But if I had to choose, I of course would show my best and most calm side and would love to meet these two (I know, again two, but I just don't want to choose):

Shah Rukh Khan, since he's the childhood/teen crush and hero for me. I inhaled his Bollywood movies back then and still am so attatched to him in a nostalgic way 🤗 Would most likely just want to tell him how much joy his movies brought me, how much the music of this movies shaped me and how much he was a part of my growing up process.

And of course, no surprises here, the fine gentleman that is Hugo Weaving 🤲🏼 He also was a big part of my teen years since he was part of my favourite movie, and later now became such a hyperfixation :') Would probably love to talk with him about his work on australian movies and theatre pieces as well as just... would beg him to read audiobooks because I need his voice in my life more.

39. in your opinion what is the most underrated movie?

(Maybe not underrated but just not known enough/not talked about enough anymore):

Going absolutely full blown German mode here and say every movie made by the German movie director Rainer Werner Fassbinder. He was known for his provocative and often controversial films that explored themes of alienation, sexuality, and social critique, and really shaped the New German cinema movement in the 1960s and 1970s. Fassbinder's works often depicted the struggles of people (oftentimes marginalized groups) in post-war Germany; very heavy and sad movies without being overly dramatic.

I recommend especially 'Ali: Fear eats the soul' ('Angst essen Seele auf'; so. SO. good), 'Martha' and 'The marriage of Maria Braun' ('Die Ehe der Maria Braun').

[byleranalysis]

It's so wild to me that you get criticized for your analysis videos like you're reaching with them and that it's digging too deep into it. All you're doing is using the same visual language rules that almost everyone in the industry uses to explain the camera movements and what the industry generally uses that camera movement/shot type to communicate.

Because everyone in the industry uses the same textbook and basic visual language consistently, that allows the audience to understand it in a way similar the level someone who has picked up a language only by hearing it spoken. They just might might not be able to explain the specific grammar rules (to extend the language metaphor)

But that doesn't mean that those rules don't exist, it just means that pattern recognition is one hell of a thing.

Say it louder for the people in the back. Seriously— I am so appreciative of this ask for verbalizing what I have been trying to say.

Others say I am digging too deep but in doing so, they make it somewhat obvious they haven’t delved into how film/tv production works. My video analysis are very minimal/basic descriptions of the camera movement and composition that I can make. I mean, I only have about two sentences to describe the visuals without needing to create another text box. I am simply using the terminology + subtext for certain shot types that have been established for decades. It’s quite literally a unanimous common language used while filmmaking. Look at how international films can still convey the same visually thematic + emotional presence as those made in Hollywood. Physical language does not impede the visual language that has been established for years. (Just to add, international films —especially Chinese cinema + Bollywood IMO— have such an incredible amazing style that’s built off the Hollywood standard and I love it. Anyways-)

I am completely down for others to critique my interpretation or share their own viewpoint. However, I have never received any healthy criticism on my video analyses. For example, “Do you think *insert camera move here* could also suggest ___*”. It is almost always some hateful message about how I suck at filmmaking + I am so wrong. Or, “critiques”covered in blatant homophobia or an actual question that slowly dissolves into passive-aggressive remarks towards me or the idea of byler. Just ask what you want to ask. It doesn’t need to be stooped in anger or aggression.

Let me be honest though, there are a couple theories I have stretched on and I make it pretty clear that it could be a coincidence. Some of them are just for fun and I don’t think there is any harm in throwing around such theories. This is a fandom. Not everything has to be incredibly serious.

However, I do take my video analysis very serious and try to be as unbiased as I can while still being someone who ships byler.

Thank you —again— for this wonderfully written/explained ask. I went on a bit of a tangent but your point/metaphor is absolutely worthwhile.

[playermagic23]

Nora Fatehi compared Bollywood to a high school clique, stating, "If you don't show yourself...

Nora Fatehi, well-known for her dancing and acting ability, is also known for her open demeanor. She recently commented on her experiences in Bollywood, comparing the industry to a high school clique. She did, however, acknowledge that her previous experiences had made it easier for her to manage this atmosphere. Furthermore, she stated that foreign actors who struggle in the industry frequently do so because they do not learn Hindi or other local languages.

During the 15th Indian Film Festival of Melbourne, the actress spoke candidly with film critic and writer Rajeev Masand about her journey in the Hindi cinema industry and the hardships she faced along the way.

Nora Fatehi, who was born and reared in Canada and spent several years in Saudi Arabia, reflected on her high school experiences in various countries, where she observed kids who had created exclusive cliques that were hostile to newcomers.

Drawing on her awareness of that relationship, she finds Bollywood to be comparable and feels as if she is revisiting that milieu by entering the industry. However, she used her experience to maneuver her way through the film industry.

She stated, "It's (Bollywood) a little bit worse than high school because most of these cliques grew up together from the start." But once you've done it, it seems like you can do it again. Because you're an outsider, there's no way in unless you show yourself, learn Hindi, assimilate, and demonstrate to them that, "Hey, I can be like you guys." The Madgaon Express actress added that she does not blame Bollywood, describing it as a firm where success demands knowledge and experience. While her other models went out to clubs, she focused on studying the industry and creating graphs to critique it. Through her investigation, the Bharat actor discovered that newcomers who struggle to retain their fame frequently fade after a year or so. She went on: "That's also when I understood one thing: if a foreigner came into Bollywood and they didn't make it, most of the time it's because they didn't learn the language (Hindi) or didn't assimilate." Nora explained that some international actors try to stress their American or Canadian identity, hoping that others will recognize it. However, their language abilities and accent frequently indicate their position as outsiders, which may add to their lack of success in the industry.

[artiegenius]

The Aesthetics and Appreciation of Indian Parallel Cinema

Indian Parallel Cinema, often referred to as the New Wave or Art Cinema, emerged as a distinct movement in Indian filmmaking during the late 1940s and 1950s. Unlike mainstream Bollywood, which is characterized by its song-and-dance routines, melodrama, and formulaic narratives, Parallel Cinema aims to portray realistic stories with a focus on social and political issues. It draws heavily on the traditions of Italian Neorealism, French New Wave, and Japanese Cinema.

Historical Context

The origins of Indian Parallel Cinema can be traced back to the works of pioneering filmmakers like Satyajit Ray, Ritwik Ghatak, and Mrinal Sen. Satyajit Ray's "Pather Panchali" (1955) is often credited with setting the tone for this movement. The film's emphasis on realism, its nuanced portrayal of rural Bengal, and its departure from the escapist fare of Bollywood, marked a significant shift in Indian cinema.

Aesthetics of Indian Parallel Cinema

Realism

At the heart of Parallel Cinema is a commitment to realism. This is reflected in various aspects:

Narrative Style: The narratives are often straightforward and slow-paced, allowing the audience to engage deeply with the characters and their environments.

Character Development: Characters are complex and multi-dimensional, often grappling with socio-economic issues, personal dilemmas, and moral conflicts.

Setting: Films are frequently shot on location, capturing the authentic atmosphere of rural villages, urban slums, or middle-class households.

Visual Style

Parallel Cinema employs a distinctive visual style that enhances its realistic portrayal:

Natural Lighting: Filmmakers often use natural light to achieve a more organic and less polished look.

Minimalistic Art Direction: Sets and costumes are kept simple and true to the setting of the story.

*Cinematography: There is an emphasis on long takes, handheld camera work, and static shots, which contribute to the immersive experience.

Themes

The themes explored in Parallel Cinema are typically more serious and socially relevant compared to mainstream films:

Social Inequality: Many films address issues of poverty, caste discrimination, and gender inequality.

Political Issues: Films often critique governmental policies and societal structures.

Human Relationships: The complexities of human emotions and relationships are a central focus.

Key Films and Directors

Satyajit Ray

Pather Panchali (1955): A poignant depiction of a poor family's struggle in rural Bengal.

Charulata (1964): A sensitive portrayal of a lonely housewife and her emotional journey.

Ritwik Ghatak

Meghe Dhaka Tara (1960): A powerful narrative about the partition of Bengal and its impact on a refugee family.

Subarnarekha (1962): Addresses the issues of displacement and survival post-Partition.

Mrinal Sen

Bhuvan Shome (1969): A satire on the Indian bureaucracy, marking the arrival of the New Wave.

Ek Din Achanak (1989): Explores the mystery and turmoil following a man's sudden disappearance.

Shyam Benegal

Ankur (1974): Highlights the class struggle in rural India.

Nishant (1975): A grim tale of feudal oppression and the fight for justice.

Appreciation of Indian Parallel Cinema

Critical Acclaim

Parallel Cinema has garnered significant critical acclaim both nationally and internationally. It has been recognized at major film festivals like Cannes, Berlin, and Venice, helping to elevate Indian cinema on the global stage.

Influence

The movement has influenced a generation of filmmakers who continue to draw inspiration from its aesthetics and thematic concerns. Directors like Mani Kaul, Kumar Shahani, and more recently, Anurag Kashyap and Dibakar Banerjee, owe a debt to the legacy of Parallel Cinema.

Cultural Impact

Parallel Cinema has played a crucial role in shaping the discourse on social and political issues in India. It has provided a platform for marginalized voices and brought attention to the struggles of everyday life.

Conclusion

Indian Parallel Cinema remains a vital and influential part of the country's cinematic landscape. Its commitment to realism, its exploration of pertinent social issues, and its unique aesthetic continue to inspire filmmakers and captivate audiences. As we look towards the future, the legacy of Parallel Cinema will undoubtedly endure, reminding us of the power of film to reflect and shape society.The Aesthetics and Appreciation of Indian Parallel Cinema

[werindialive]

Rashmika Mandanna’s Milan Fashion Week Look Trolled by Diet Sabya, Her Response is Priceless 

Rashmika Mandanna, one of the most popular actresses in the Indian film industry, recently made waves at the prestigious Milan Fashion Week. Known for her vibrant personality and effortless style, Rashmika turned heads with her daring outfit and bold makeup choices. However, her dramatic smokey eye look became the target of Diet Sabya, the infamous Instagram account that critiques fashion missteps, particularly in the Indian celebrity scene. What followed was a humorous exchange that won over social media. 

Rashmika’s look at Milan Fashion Week was all about making a statement. She wore an edgy ensemble, accompanied by intense, smokey eye makeup that highlighted her features and gave her a fierce, runway-ready appearance. While many applauded her for taking fashion risks, Diet Sabya had a different take on the look. The account is well-known for its savage, unfiltered commentary, and it didn’t hold back when reviewing Rashmika’s makeup. Diet Sabya posted a story on its Instagram, poking fun at her heavy smokey eye, suggesting it was overdone and out of sync with the event’s vibe. 

In a world where celebrities often react strongly to public criticism, Rashmika took the trolling in stride and responded in the most delightful way. Instead of lashing out or ignoring the comment, she reshared Diet Sabya’s post and added her own hilarious spin to it. Her light-hearted reply read, "I tried something new, but looks like it got too smokey for y’all to handle!" By playfully acknowledging the critique, Rashmika showed her sense of humour and ability to laugh at herself. 

Her witty comeback instantly went viral, with fans and social media users praising her for her grace and humility. Many pointed out how refreshing it was to see a celebrity who doesn’t take herself too seriously and is willing to engage in fun banter, even when it involves criticism. Her attitude toward trolling stood out as an example of how to handle online negativity with class and humour. 

As the exchange gained traction, social media was filled with messages of admiration for Rashmika. Her fanbase lauded her for being real, grounded, and relatable, qualities that have consistently endeared her to the public. Not only did her response win over critics, but it also turned the spotlight on her in a positive way, enhancing her image as a fun-loving, approachable star. 

This incident underscores Rashmika’s growing appeal, both as an actress and a fashion icon. While not everyone might agree with her fashion choices, it’s clear that her ability to handle criticism with poise and wit sets her apart in the ever-competitive world of showbiz. For more Bollywood news and updates in Hindi, subscribe to our newsletter.

[fashionlic]

Laugh Out Loud: Top 10 Best Comedy Films In Hindi

Bollywood’s treasure trove of comedy films has given us countless laughs and unforgettable moments. Whether you're in need of a hearty chuckle or a light-hearted escape, Hindi cinema offers a range of comedies that will leave you in splits. Here's a roundup of the top 10 comedy films in Hindi that are guaranteed to make you laugh out loud.

Hera Pheri (2000) Hera Pheri stands as a quintessential Bollywood comedy, earning a dedicated fan base over the years. The plot centers on Baburao, Shyam, and Raju, who become entangled in a hilariously botched kidnapping scheme. With sharp dialogues and standout performances by Akshay Kumar, Sunil Shetty, and Paresh Rawal, this film is a comedic classic.

Munna Bhai M.B.B.S. (2003) Munna Bhai M.B.B.S. combines humor with heart, following a local thug, Munna Bhai, who joins medical school to realize his father's dream. The film is beloved for its original premise and the memorable Circuit, played by Arshad Warsi, whose comedic flair adds charm to the story.

3 Idiots (2009) More than just a comedy, 3 Idiots delivers a powerful critique of the Indian education system. This film tracks the lives of three engineering students, featuring Aamir Khan in a standout role. Known for its blend of humor, touching moments, and a strong message, it’s a must-watch.

Golmaal: Fun Unlimited (2006) As the inaugural entry in the Golmaal series, Golmaal: Fun Unlimited is a riot of laughter. The film follows four friends who stumble into a series of hilarious predicaments. With a stellar cast including Ajay Devgn, Arshad Warsi, Tusshar Kapoor, and Sharman Joshi, the film is a comedic gem.

Dhamaal (2007) Dhamaal features four friends on a quest for hidden treasure, leading to a series of laugh-out-loud situations. The film shines with the chemistry of its lead actors—Sanjay Dutt, Riteish Deshmukh, Arshad Warsi, and Javed Jaffrey—ensuring plenty of comedic moments.

Bhool Bhulaiyaa (2007) Blending comedy with horror, Bhool Bhulaiyaa follows a psychiatrist unraveling a mystery in a haunted mansion. Akshay Kumar’s impeccable comedic timing, coupled with a suspenseful storyline, makes this film a unique and entertaining watch.

Welcome (2007) Welcome offers a hilarious look at a man who falls for a woman whose brothers are notorious gangsters. The film is full of witty dialogues and showcases the comedic prowess of Anil Kapoor, Nana Patekar, and Akshay Kumar.

Phir Hera Pheri (2006) The sequel to the iconic Hera Pheri, Phir Hera Pheri continues the comedic misadventures of Baburao, Shyam, and Raju. With another get-rich-quick scheme gone awry, this film delivers more of the humor that made its predecessor so beloved.

Chup Chup Ke (2006) In Chup Chup Ke, a man drowning in debt pretends to be deaf and mute to evade his problems. The film is notable for its heartwarming story and the comedic performances of Shahid Kapoor, Kareena Kapoor, and Rajpal Yadav.

Hungama (2003) Hungama features a web of misunderstandings and comedic chaos as various characters’ lives intersect in humorous ways. With an ensemble cast including Akshaye Khanna, Aftab Shivdasani, and Paresh Rawal, this film is a rollercoaster of laughs.

These top 10 Hindi comedy films offer a delightful escape with their humor and engaging stories. Whether you're seeking a good laugh or a fun movie night, these films are sure to brighten your day.

[magsubs]

Top 10 Magazines You Should Subscribe to Right Now

1. India Today Magazine

India Today Magazine offers comprehensive coverage of current affairs, politics, business, sports, and entertainment, providing insightful analysis and diverse perspectives. Subscribers enjoy timely delivery, exclusive offers, and affordable pricing. Stay informed about key national and global developments with well-researched articles and expert opinions. Choose India Today Magazine subscription for unparalleled journalism that deepens understanding of today’s world.

2. Outlook Traveler Magazine

Outlook Traveller Magazine is your gateway to the dynamic world of travel, showcasing trends, destinations, and experiences. From adventurous escapades to luxurious retreats, Outlook Traveller Magazine offers diverse inspiration with captivating narratives and expert advice. Tailored for Indian travelers, it features domestic and global destinations, cultural insights, and practical tips. Subscribe for curated itineraries and insider knowledge delivered to your doorstep, enriching your travel adventures with every issue.

3. Femina Magazine

For 58 years, Femina has been the leading English magazine for women in India, evolving alongside its readers. Celebrating the modern woman, Femina offers inspiring stories, fashion trends, beauty tips, and relationship advice. Available online, it provides easy access to insightful content on fashion, lifestyle, and personal growth. Affordable and empowering, Femina is a trusted companion for women seeking empowerment, style, and a well-rounded life. Join the Femina community today and enrich your journey with empowerment and inspiration.

4. Filmfare Magazine

Filmfare is the ultimate Bollywood magazine, offering exclusive interviews, behind-the-scenes stories, and comprehensive event coverage. Explore the world of Indian cinema with expert film reviews, critiques, and updates on news, trends, and box office hits. Subscribe to Filmfare magazine for an immersive journey into the glamour and magic of Bollywood.

5. The Week Magazine

The Week is a renowned Indian news magazine that provides in-depth coverage of current affairs, politics, business, technology, and entertainment. Known for its balanced reporting and insightful analysis, The Week Magazine offers a comprehensive overview of important events both domestically and internationally, catering to informed readers seeking nuanced perspectives.

6. Grihshobha Magazine

Grihshobha stands as India’s sole pan-India women’s magazine, encompassing a wide array of topics such as Bollywood, beauty, fashion, family, relationships, travel, recipes, and personal issues. For decades, Grihshobha Magazine has been a trusted advisor and catalyst in the transformation of Indian women. It offers genuine guidance and insights, addressing the diverse interests and concerns of its readership, making it an essential companion for the modern Indian woman.

7. Digit Magazine

Digit Magazine is a leading publication focused on India’s technology landscape, offering comprehensive coverage of electronics, gadgets, and emerging technologies. With in-depth articles, expert reviews, and flexible subscription options including print and digital formats, Digit Magazine keeps readers informed about the latest innovations in smartphones, laptops, smart home devices, and more. It’s a must-read for technology enthusiasts and professionals seeking insights into the rapidly evolving tech industry.

8. Business Today Magazine

Business Today magazine is a trusted resource for professionals and entrepreneurs navigating the business world. It offers in-depth articles, interviews with industry leaders, market trends, and economic analysis. Subscribers gain exclusive access to valuable insights, empowering them to make informed decisions and stay competitive. With competitive pricing and flexible subscription options, Business Today Magazine is essential for anyone looking to stay informed and connected in the realm of commerce.

9. Auto Today Magazine

Auto Today magazine is a comprehensive guide for auto enthusiasts, featuring in-depth reviews, road tests, and expert insights on the latest models and technologies. It covers new launches, industry news, comparisons, and interviews with leaders. Subscribe for monthly updates delivered with captivating visuals and authoritative content. Affordable pricing ensures accessibility, making it a must-read for anyone passionate about automobiles.

10. Hotelier India Magazine

Hotelier India Magazine is a leading monthly publication catering exclusively to the hospitality sector. It offers comprehensive coverage of industry news, business trends, product updates, and best practices essential for hoteliers nationwide. Published by ITP Media India, the Hotelier India magazine features exclusive interviews, case studies, and market insights. It is a vital resource for professionals seeking to stay informed and competitive in India’s thriving hospitality industry.

Subscribe to popular magazines like India Today for current affairs, Outlook Traveller for travel insights, Femina for fashion and lifestyle, Filmfare for Bollywood exclusives, Digit for tech updates, Business Today for business news, Auto Today for automotive trends, and Hotelier India for hospitality industry insights. Stay informed and entertained with these leading publications!

[pavitrtimes]

The Digital Stage: Bollywood’s Influence Through Social Media

In today’s ever-connected world, the boundary between personal and public, fan and idol, consumer and creator seems increasingly blurred, thanks to the relentless pulse of social media. Bollywood actors, who are as much influencers as they are artists, play a vibrant role in this digital dance, shaping opinions, endorsing causes, and bringing a dash of stardust to everyday life.

Stars in the Digital Sky

Bollywood's denizens have long been icons of culture and fashion, appearing in countless films that shape and reflect societal attitudes. However, the rise of social media platforms such as Instagram, Twitter, and Facebook has allowed these cinematic giants to forge more intimate connections with their audiences than ever before. Every post, tweet, or share is not just a reflection of their public persona but an invitation into their personal lives and ideologies, broadening their impact far beyond the silver screen.

Power to Persuade

With great power comes great responsibility, and Bollywood actors are acutely aware of their influential positions. They champion social causes, push for changes, and help raise awareness on critical issues. This can range from promoting environmental sustainability to advocating for women's rights, amplifying their voices through the megaphone of social media.

Such activities help cultivate a more engaged, socially conscious audience, demonstrating a commitment to not just entertain but also enlighten and inspire. This extended role of actors as activists shows their capacity to influence societal norms and values directly, leveraging their massive followings for good.

Personalized Interactions: Beyond the Screen

Enhancing personal fan interactions has transformed dramatically with the advent of social media. Stars are now a mere tweet or DM away from their fans. This accessibility has fostered a more informal and personal connection that can dramatically boost a fan’s day. For instance, receiving birthday wishes from actors directly through a quick social media post can feel immensely special.

Moreover, some platforms offer specialized services where fans can receive a personalized celebrity happy birthday wish directly from their favorite stars. This service is particularly popular as it adds a unique and memorable touch to fan interactions, making birthdays and special events extraordinarily special.

Building a Brand

Bollywood actors also harness social media to build and control their personal brands. Every post or public appearance is strategically planned to shape public perception, manage reputations, or even rehabilitate an image. This control over their narrative helps them stay relevant and maintains their appeal both on and off the screen.

The Critique Chamber

However, the intersection of Bollywood and social media is not without its challenges. The relentless scrutiny and pressure can sometimes lead to controversies, affecting an actor's public image and personal life. Moreover, the onus is on the celebrities to maintain a balance and ensure their online personas reflect their true values and beliefs, all while appealing to their vast and diverse audiences.

Conclusion

The evolution of social media has indeed changed the game for Bollywood actors, not just in how they interact with fans but also in how they influence social change and manage their personal brands. Their posts not only entertain but also engage, inspire, and sometimes challenge the status quo, proving that in today's digital age, an actor's stage is not only the set of their latest blockbuster but also the global stage of social media.

[themovieblogonline]

SATANTRA VEER SAVARKAR Review: A Different Side Of The Partition

One of India’s greatest character actors, Randeep Hooda, finally turns director with a bio-pic on an Indian revolutionary titled Satantra Veer Savarkar. The film depicts the life of one of the many people who fought for India’s liberation from the British occupation. With his first directorial feature, Hooda chooses a difficult topic and manages to tell a compelling story, that works on many levels, despite his inexperience. To know if the movie is worth a watch, read on for my Satantra Veer Savarkar review.  Please note that this Satantra Veer Savarkar review is critiquing the film as a fictional story and a self-contained work, and not analyzing any potential historical inaccuracies, or liberties taken with real-world events.  Randeep Hooda Turns Director With Satantra Veer Savarkar   https://www.youtube.com/watch?v=n2bydFTTV9U Randeep Hooda is one of India’s most underrated actors. The immensely talented actor has proven his talent from his debut in Ramgopal Varma movies. And has gone on since to carve a name for himself as a great supporting actor in some of Bollywood's biggest films. Having worked with the best of the best himself as an actor, Hooda gets behind the camera here, multi-tasking as a co-writer and producer of Santantra Veer Savarkar. And as a debut goes, it works.  The movie is about Vinayak Damodar Savarkar, one of the earliest men who began the fight for India’s independence from the British during their Raj. The movie even posits that some of India’s biggest revolutionaries, like Bhagat Singh, were inspired by Savarkar’s ideologies. The biopic is a complicated subject, given that the man himself had a varied life during a time that defined India for generations to come. And despite some initial stumbling with pacing and editing, Hooda does a great job with it. While I still think the movie is way too long, it never felt tedious or dragging. I’m curious to see what else Hooda can do behind the camera.  Satantra Veer Savarkar Review Will Contain Some Spoilers The film is very much the conventional bio-pic, but this one does something very interesting with it. Savarkar is shown as a young man who wants India’s independence from a young age. However, at the height of his rebellion, he is imprisoned for life. So the story of Savarkar the man, is happening parallel to the progress of India’s as a country. But with him in the background, unable to actively contribute or participate in the revolution he was one of the earliest to start.  This angle of the story also makes Savarkar a spectator for much of this fight. As things in the real world progress in ways he disagrees with, he has no opportunity to influence them from prison. It’s an interesting viewpoint that you don’t necessarily think of when you think of a story about rebellion and defiance. But that’s how this movie kind of stands out from the rest.  Satanrtra Veer Savarkar Review Differentiates From The Rest Despite my enjoyment of the movie, there are definitely moments when Hooda’s inexperience sticks out. There are times when some lines of dialogue or reactions seem cringey or a little inorganic. Certain emotional moments are way too big and over the top. Some aspects of the story feel criminally underdeveloped. For example, Savarkar’s wife Yamuna Bai (Ankita Lokhande) stands by her revolutionary husband, for over 30 years of their marriage, most of which he was in prison for. However, she has barely 5 lines of dialogue in the 3-hour movie. There is also a lack of motivation for Savarkar’s passion. Outside of a scene in his youth where his dying father tells him to leave all this revolutionary business, the movie never explores the reasons behind Savarkar’s intense ideologies.  But even these complaints are kind of smoothed over, by how Hooda tells the story. There are times when the movie feels like an epic mythological tale about this great man and his sacrifice. And for the most part, those weird and abstract moments really work. For example, a scene where an interaction with others turns into a stage play monologue with a spotlight on Hooda as he seemingly plays to the camera as Savarkar defines a new Hindutva concept for audiences.  So in those moments the atmosphere of melodrama and excess works, given how stage plays or epic dramas usually have to play to the back of the theatre. Once I realized that this kind of approach to the story was intentional, things kind of clicked.  This Movie Is Not For Everyone Even though I enjoyed the movie, with my intermediate knowledge of India’s history and Partition, Satantra Veer Savarkar will not be a movie that everyone can enjoy. The story doesn’t spend any time explaining to audiences the current state of India. There is no CGI text in the beginning explaining that India was a British Colony conquered and enslaved by the British for decades. So without that context, Indian characters showing passion and intensity for their ‘motherland’, while also rage and aggression at the White characters, will feel a little odd. And then you get into the political nuances of the time and all the various factors that led to the division of the country into India and Pakistan during the British exit.  Audiences that have some brief knowledge of Indian history may be able to piece it all together. Especially as the movie does feature some appearances by India’s biggest historical figures such as Gandhi, Nehru, Jinnah and more. However, those names will mean nothing to audiences not familiar with history. Given that Satantra Veer Savarkar is mostly for Indian audiences, the lack of accessibility complaints may not be as big an issue.  Randeep Hooda The Actor Is Awesome! While Satantra Veer Savarkar definitely has some issues, I thoroughly enjoyed the movie for one big reason; the film does takes a big departure from the usual stories about India’s freedom. It also doesn’t side with one ideology over another. If anything, it does idolize the man it's based on but doesn’t push any one specific political narrative.  Most Bollywood movies with a story about India’s independence or partition almost always showcase a side. The movies feature nationalistic pride in India, while Pakistan is demonized as the bad guys. However, what I liked about Satantra Veer Savarkar is that the ending was more of a tragic end than a victorious celebration. Savarkar is shown as being against the division of the country based on religion and is very affected when it happens. Given how things ended up working in real life after the Partition, the movie makes it seem like Savarkar saw it coming. And in that way, the story is very moving and compelling.  Satantra Veer Savarkar Review Recommends The Movie https://www.youtube.com/watch?v=RJ35e5RhHKk Hooda is much better on camera than behind here, and his sheer will of acting brilliance almost wills the movie to become interesting when it does slow down. Hooda again transforms his body to play the more brutal scenes in imprisonment, but it’s not the transformation that’s impressive, it’s Hooda's commitment to the role and performance. Everything from his posture, body language, and micro expressions is so good that I completely lost Hooda the actor in the role and just saw this complicated person. It’s a powerful performance in a movie that doesn’t entirely match the same energy. But I still think it’s a must-watch for fans of independence films, or biopics that feature a more theatrical approach to the story.  Satantra Veer Savarkar is currently streaming on ZEE5 GLOBAL.  What did you think of Randeep Hooda the director? Let me know in the comments below. Or reach out to me on X (formerly Twitter) at @theshahshahid for all things Bollywood. Read the full article

[jainanibjiya]

The Intersection of Cinema and Reality: A Mirror and a Map

Often seen as a sanctuary of escapism, cinematranscends its role as mere entertainment. It serves as both a mirror reflecting societal values, norms, and issues, and a map that guides us through the complexities of human experiences and societal structures. This intricate relationship between cinema and the real world influences how audiences perceive their surroundings and impact societal attitudes and real-world outcomes. Be it Hollywood or Bollywood movies or any other all the movies have a magic that draws a gap between reality and imagination.

Reflecting Society: Cinema as a Mirror

Cinema has the unique ability to reflect society's ever-changing landscape, capturing the essence of an era’s cultural, social, and political climates. Historical films, for instance, such as Steven Spielberg’s Schindler’s List or Ava DuVernay’s Selma, do more than just recount past events. They ignite discussions about the moral lessons of history and their relevance in our contemporary world, encouraging a dialogue between the past and the present.

Similarly, films dealing with social issues can highlight problems that might otherwise be ignored or misunderstood. Movies like Philadelphia (1993) played a crucial role in bringing the AIDS crisis to mainstream consciousness, shifting public perception and encouraging empathy and understanding towards the LGBTQ+ community.

Challenging Norms: Cinema as a Critic

Cinema doesn't just mirror society; it also challenges its deepest prejudices and entrenched norms. Films have the power to question and critique the status quo, offering new perspectives and fostering social change. For instance, Get Out (2017) by Jordan Peele uses the horror genre to explore racial tensions in America, providing a stark commentary on the subtle continuations of segregation and racism in American society.

Women filmmakers are particularly instrumental in challenging cinematic norms, both in front of and behind the camera. Greta Gerwig’s Little Women (2019) offers a fresh take on a classic, emphasizing themes of female independence and ambition that resonate with contemporary feminist movements. Through such films, cinema not only reflects but also participates in the shaping of societal values and aspirations.

Influencing Reality: Cinema as a Catalyst

The impact of cinema extends beyond the screen; it influences real-world behaviors and can catalyze change. Documentaries are especially potent in this regard. An Inconvenient Truth (2006) had a profound effect on public awareness of climate change, contributing to environmental activism and policy changes.

Furthermore, the phenomenon of film-induced tourism shows how on-screen landscapes can affect economies and perceptions of geography. The stunning visuals of New Zealand in The Lord of the Rings trilogy dramatically increased tourism, altering the global image of the country.

Representation Matters: The Real Effects of On-Screen Diversity

The importance of representation in cinema cannot be overstated. When films portray diverse narratives and cast actors from different backgrounds, they promote inclusivity and provide role models for underrepresented groups. Black Panther (2018), celebrated for its predominantly Black cast and celebration of African culture, not only broke box office records but also sparked a global conversation about the representation of Black characters in Hollywood.

The struggle for gender equality in cinema also reflects broader societal challenges. Despite progress, women directors and storytellers often face significant barriers, impacting the types of stories that reach the screen. The success of directors like Kathryn Bigelow, the first woman to win the Academy Award for Best Director, underscores the ongoing need for gender parity in the industry.

Technology and Realism: Blurring the Lines

Advancements in film technology have blurred the lines between cinema and reality. High-definition visuals, 3D technology, and immersive formats like IMAX draw viewers closer into the cinematic world, making the on-screen experience more vivid and realistic. Technologies such as virtual reality (VR) are pushing these boundaries further, offering audiences not just a view but an experience of the cinematic world.The evolution of cinematic technology has dramatically altered the way stories are told and experienced. High-definition visuals and immersive technologies like 3D and virtual reality have transformed the viewer's experience, making it more vivid and engaging. Films like Avatar (2009) are pioneers in using technology not just to enhance aesthetic appeal but to deepen the narrative immersion, allowing viewers to feel more connected to the fictional environments and characters

Artificial intelligence in filmmaking, used in everything from scriptwriting to post-production, is revolutionizing how stories are told and produced. These technological advancements not only enhance storytelling techniques but also democratize film production, making it more accessible to independent filmmakers and thereby diversifying the stories that are told.

Ethical Considerations: The Responsibilities of Filmmakers

With great power comes great responsibility. Filmmakers must navigate the ethical implications of their work, particularly in how they portray sensitive subjects and historical events. The responsibility to handle topics with accuracy and sensitivity is crucial, as films have the power to shape perceptions and beliefs profoundly.

The controversy around Quentin Tarantino’s depiction of historical events in Inglourious Basterds (2009) and Django Unchained (2012) illustrates the fine line filmmakers tread between artistic freedom and historical responsibility. While some applaud the subversive rewriting of history, others criticize it for trivializing serious subjects.

Conclusion: Cinema’s Enduring Impact

Cinema’s relationship with the real world is dynamic and multifaceted. As both a reflector and a shaper of society, films play a critical role in how we understand and engage with the world around us. Whether through reflecting societal issues, challenging norms, influencing real-world outcomes, or pushing technological boundaries, cinema remains a powerful force in shaping both individual and collective realities.

In conclusion, as we continue to watch and make films, we must be mindful of the power of cinema to influence society and the responsibility it entails. Engaging critically with films and supporting diverse and ethical storytelling can help ensure that cinema continues to serve as both a mirror and a map, guiding us toward a more inclusive and understanding world.