The dysfunctional family dynamics were real, peppered with awkwardness and bottling up of emotions, the Dilli within – a topic Banerjee excels in – was on-point, and the nonchalant wit, even during a sombre scene, brought to light a technique that could seldom go out of fashion. Of course, films had touched upon the house dilemma that every regular person in the country faces, but none quite like Khosla Ka Ghosla, written by Jaideep Sahni. The film bridged several gaps – right from the perception of mainstream and indie cinema to middle-class woes in real and on reel. Khosla Ka Ghosla (2006) Director: Dibakar Banerjee “A mad, messy and a frequently amazing epic from India,” raved the New York Times. A story of the titular Herbert Sarkar, an orphan and a clairvoyant, as much as it is about the city’s past, present and future, Mukhopadhyay adapted Nabarun Bhattacharya’s celebrated, difficult-to-film novel for the screen with great filmmaking flair, featuring a career-defining performance by Shubhasish Mukherjee.
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Herbert (2006, Bengali) Director: Suman MukhopadhyayĬontemporary Bengali cinema tends to shy away from engaging with the state’s socio-political context but Suman Mukhopadhyay’s first film looked at Bengal’s Communist history through a complex lens (and as a result, was targeted by the then CPI(M) government). The seeds of the movement that has taken over today seems to have been planted with the release of this superhit. It had style and technique, it had impressive songs and it gave us hope that our cinema was safe in younger hands. Released at a time when Malayalam cinema itself was going through a crisis, the meta comedy about the struggles of a first-time filmmaker had a certain freshness in every frame.
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Rosshan Andrews’ first film Udayananu Thaaram wasn’t just a game changer. Udayananu Tharam (2005, Malayalam) Director: Rosshan Andrews Most of all, Kashyap furthered the Ram Gopal Varma school of casting: the “unknown” non-starry faces who played famous cops and criminals went on to shape the parallel Hindi cinema landscape in big ways and small over the next decade. No film since has “recreated” a real-life event with such a controlled audiovisual palette and crowded narrative – it walks a thin line between opining and stating, observing and concluding, constructing and deconstructing. Based on Hussain Zaidi’s book on the 1993 Bombay Bombings, Kashyap’s storytelling felt like an accumulation of time – of not just his own suppressed film-making career but also of a city simmering with communal tension and vicious ideas.
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Black Friday (2004) Director: Anurag KashyapĪnurag Kashyap’s (official) debut is a gut-punch of a movie – a rare cocktail of a personal voice, journalistic vision and dramatic verve. It made Hirani stand out as a filmmaker who largely centered his films on morality and the inherent goodness within human beings. The jadoo ki jhappi s became a rage, and Circuit and Munna the new-age Jai and Veeru. Not only did it subvert the bhai/local goon trope, but actually made a better person out of a clearly flawed character – all through an inherent sense of compassion.
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The Munna Bhai series not only, in a way, gave a new lease of life to Sanjay Dutt’s career but also created an impact that went beyond the screens.
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Munna Bhai MBBS (2003) Director: Rajkumar Hirani It made everyday friendships and urban relationships cool, casual conversations pinched with wry humour appealing, the aesthetics calming and soothing – wrapping it all in a one-of-a-kind classic in mainstream Hindi cinema. And that’s precisely why it was as impactful a film as it was. Dil Chahta Hai (2001) Director: Farhan Akhtarįarhan Akhtar’s directorial debut never felt too close to home, almost as if someone had peeked into the lives of real-world friendships and copy-pasted them on-screen.