Showing posts with label Afwaah. Show all posts
Showing posts with label Afwaah. Show all posts
If you don’t make difficult films, you’ll have a dumb audience, a dumb voter-Sudhir Mishra
8:12 AM
Sudhir Mishra and Anubhav Sinha, friends and collaborators on last week’s political thriller that chases the life of a rumour, on why they don’t waste time on apprehensions
Jane Borges (MID-DAY; May 14, 2023)
The day we visit Sterling theatre in Fort for an 8 pm show of Sudhir Mishra’s Afwaah, #LoveJihad has been trending largely thanks to the week’s other controversial release, The Kerala Story. It tells the story about a group of women from the southern state who are converted to Islam and forced to join the Islamic State of Iraq and Syria (ISIS). Mishra’s film, a plausible antithesis to this rhetoric, appears light years away from this shor sharaba.
Afwaah is not unbothered, though. When we walk out of the cinema, we realise that it’s deeply invested in the great affliction of our times—the boom and doom of virality and the nature of communal propaganda. With characters caught in the thick of the white noise on the web, the film cleverly chooses to play spectator instead of taking the moral high ground as commentator. “Here’s a town. Let’s witness the chaos,” it seems to say.
Set in a conservative pocket in Rajasthan, the plot tracks the insincere and raving-mad aspirations of right-wing politician Vicky Bana (Sumeet Vyas), whose chicanery forces his outraged bride-to-be Nivedita Singh (Bhumi Pednekar) to run away from home—she won’t marry a bigot. This fuels a night of violence and bloodbath. Wedged in this kerfuffle is the suave Rahab Ahmed (Nawazuddin Siddiqui), who is on his way to a tony book festival where his wife is a participant, and whose only fault is wanting to rid himself of the guilt of a lie he has carried far too long. It’s what—we will later learn—compels him to save Nivedita from the goons set loose by her fiancé. It’s a trap, and for a man, who doesn’t wear religion on his sleeve, but whose identity now embroils him in a “Love Jihad” controversy.
“He is being hunted for who he is not.” The audience is pulled into a night of epic proportions. “A lot of people wanted me to remake Iss Raat Ki Subah Nahin…,” says Sudhir Mishra of his iconic 1996 thriller that spans an entire night, explaining the genesis of his latest all-nighter, when we meet him days after its release. Mishra is joined by friend and Afwaah’s producer Anubhav Sinha, “…But you can’t go back to your youth, and remake a film just like that.”
The idea for Afwaah “was all over us. You just had to have your ear to the ground”. “But what interested me, and what I think the critics have not got…” says Mishra, asking us if he can be “a bit arrogant” “…is that people see films only at the surface.”
“Afwaah is not really about the rumour that’s outside,” he says of the political thriller that most critics have called a cautionary tale about false narratives infesting social media. “Protagonist Rahab is also spreading a rumour about himself, and the bubble he is living in,” says Mishra, who has written and directed the film, “The film is not about what makes headlines, but what happens behind those headlines.”
Mishra’s characters are layered. We see spurts of goodness, even in evil. Chandan, a character played to perfection by Sharib Hashmi, believes he is Vichy Bana’s wingman; he makes one wrong move and has everyone baying for his blood, including Bana, who is ruthless in his chase. “Chandan is both, the victim and the antagonist. The film tries to understand the lyncher as much as it understands the lynched.”
None of his motivations as a storyteller, Mishra feels, have been understood by the critics. His disappointment is evident. But that’s not stopping him. “If you don’t make difficult films, you will have a dumb audience and a dumb voter… and then God help you.”
Sinha, who has been listening quietly, has himself long moved away from spinning box office juggernauts, to engage with content that forces the viewer to think. Be it the patriarchy-defying Thappad (2020) or the more recent Bheed, which documented the painful and horrifying migrant exodus during the pandemic.
Working with Mishra was an important part of this journey, he says. “Over the last few years, we bounced ideas off each other. But every film has its destiny, some stories get made quickly, some take longer. This [Afwaah] was the child that got lucky.”
Having said that, Sinha says, the content of the film was not as important, as “wanting to make a film with Sudhir bhai”. “He is one of the first filmmakers I met when I came to Mumbai. On my first night here, I had the privilege of having a drink with him and Javed saab… he used to drink back then,” Sinha smiles.
“I wanted to make Afwaah to learn something from him. The rest—you write a film, you cast for it, you shoot and edit—is all mechanics. What’s important to know is why you are making the film that you are.”
Movies like Afwaah that don’t endeavor to entertain the audience in a manner that they lose themselves, he adds, are difficult to make and watch. “What has become even more difficult [to determine] is which film has the real audience. All those numbers [box office] are not trustworthy. They are not truthful anymore. Unfortunately, the success and failure of a film is only defined by them,” says Sinha, “But what about the other number, the number of years a film will live on a shelf? Or the number of times, people will go back to it [during their lifetime].”
Film consumption is diverse. “It is meant for weekends, theatres, satellite channels, OTT platforms and for times to come. Of these, the biggest parameter, according to me, is the times to come,” thinks Sinha.
For Mishra, making a film is still a discovery. A mathematician’s son, he didn’t go to film school. He says he learnt from his father that you start with a hypothesis, and then you go about proving it. “I make a film to learn. I wanted to learn about Rahab... there’s a lie he has been telling.”
Mishra’s protagonist is not a hero in the true sense then. He doesn’t want to die, because he thinks it would be a useless death. “When did you last hear a hero say that?” Mishra asks.
“One journalist called me after seeing the film, saying it reminded her of George Bernard Shaw’s Arms And The Man, where there’s a character called [Captain] Bluntschli who says, ‘martyrdom sucks’. I suddenly remembered that Bluntschli was the first role I played in my life, on stage. So, what influences you, you sometimes discover through the process of making a film. I discover myself [when I make a film].”
That it is increasingly becoming difficult to make honest films that hold a mirror to society, is not lost on them. “I would be lying if I said that there wasn’t any apprehension,” says Mishra. “But I don’t think it ever stopped Anubhav from wanting to produce it, or me from making it. There is this dynamic, democratic society called India, and we are participating in it. We should be allowed to have our say. That’s what we expect.”
Mishra confesses that his affiliation is to his art, not any political party. His 2004 political drama, Hazaaron Khwaishein Aisi, was set against the Emergency of 1975, and released when the Congress was in government. He is also not one to shy away from engaging in conversation with filmmakers whose films contrast his own.
We were surprised when we stumbled on a recent two-hour-long interview where Mishra engages with The Kashmir Files director Vivek Agnihotri for his YouTube channel, I Am Buddha. Here, Agnihotri, who is an unapologetic right-wing filmmaker, credits Mishra for inspiring him after Hazaaron... to tell the stories he believed in. No hard feelings, none at all.
The hope is that more people will show courage. Even actors, who are often hesitant to take on daring scripts. “See, the big stars won’t come to me anyway, because I write frail characters,” claims Mishra. “There’s all of Indian cinema. And then, there’s my cinema.”
The former, he says, worships the hero, while he is invested in their failure. “That’s why it is more difficult to make my kind of films. The heroes don’t like this. It upsets their testosterone-ridden, fake machoism… they are simply pretending to be sensitive to women. None of them are.”
Sinha thinks female actors are stronger in conviction and the risk that they will take. He adds that this also stems from the fact that we do not ascribe the success of the film to its women. “A lot of time it’s they who are responsible for it, though,” says Sinha.
Waheeda Rehman, for instance, says the duo, was “better than all the men of her time”. “She had more skillsets than any of the actors.” Sinha adds, “Even today, the number of good female actors is way higher than the good male actors. They are gutsier, and they are far more disciplined…”
Mishra adds, “I come from the parallel cinema [era] when we were considered a viral infection. Today, I feel that there are younger actors who are far more genuinely appreciative of the films I make. Whether they work in my film or not is another thing.”
Sinha and Nawazuddin Siddiqui, the protagonist of Afwaah
Mishra with actor Bhumi Pednekar, who plays a political heiress
I feel a movie theatre is not the appropriate place to shove nationalism down our throats-Shonali Bose
8:36 AM
After she was recently slammed for not standing up for the national anthem at a Juhu theatre, filmmaker Shonali Bose questions flawed idea of patriotism
Mohar Basu (MID-DAY; May 13, 2023)
When director Shonali Bose went to watch Afwaah at PVR Cinemas in Juhu earlier this week, little did she expect a fracas for not standing up when the national anthem was played before the movie. The filmmaker says she was called “disgusting” and “unpatriotic” by a patron in the theatre.
Two days ago, she posted a video on social media, putting forth her response to the episode by quoting Rabindranath Tagore’s famous lines: “Where the mind is led forward by thee into ever widening thought and action, into that heaven of freedom, my father, let my country awake.”
When we reach out to Bose, the filmmaker emphasizes that she loves singing the anthem on days of national importance. “But I won’t do it in a theatre. That’s my government forcefully saying that this is how nationalistic fervour can be instilled,” she says, before going on to narrate her ordeal.
“I went to watch the film with my friends. All of them stood up for the anthem, I didn’t. A man behind me shouted that I am disgusting and unpatriotic. The woman next to him joined in. I turned around, and asked them to shut up. The lady was so uncouth that I could feel her legs on my chair. Though I was sure of what I was doing, my stomach had tightened. No one wants a panga.”
In 2016, the Supreme Court made the playing of the national anthem in cinema halls mandatory, stating that it instilled “committed patriotism and nationalism”. It ordered that people in the theatre must stand up to show respect for it. However, in January 2018, a three-judge panel formed by the government recommended the Supreme Court to reverse its order. The apex court then made it optional to play the anthem in theatres.
However, as part of the ruling, it also said that moviegoers will have to stand as a mark of respect in case the anthem is played. The court also clarified that the exception granted to differently-abled people from standing up during the anthem would remain in force on all occasions.
Bose argues that one does not need to wear his patriotism on his sleeve. “I am not protesting the anthem, or the government. I feel a movie theatre is not the appropriate place to shove nationalism down our throats. That is what I am protesting. It is disrespectful that people have popcorn in their mouths when they get up to show ‘respect’.”
The director adds that patriotism is working together towards building a country where diverse views co-exist and all are treated respectfully. “Patriotism is being able to speak your mind and having a conscience. It is about questioning the government at every step. I remember during the Emergency period, the government would play black-and-white propaganda films in theatres. This feels similar.”
Trade experts discuss why Afwaah is struggling at the box office
8:05 AM
As Afwaah struggles at the box office, trade says limited release of Nawazuddin Siddiqui-Bhumi Pednekar starrer and lukewarm promotions were among the reasons for the social thriller’s undoing
Priyanka Sharma (MID-DAY; May 11, 2023)
Scrolling through director Sudhir Mishra’s Twitter timeline will throw up a recurring question asked by his followers: “Where do we watch Afwaah?” The Nawazuddin Siddiqui and Bhumi Pednekar-starrer hit the screens last week, and was widely praised by critics. But the film remains elusive to audiences. Reason being its unusually limited release. Bihar-based exhibitor Vishek Chauhan says the social thriller about rumour-mongering released in less than 60 screens across the country. In contrast, the other release of the week, The Kerala Story, opened in 1,276 screens on Friday.
So, what made a movie that has powerful performers like Siddiqui and Pednekar facing the camera, and the brilliant Mishra behind it settle for less? While some sources say that the makers didn’t give the film a fighting chance, trade analyst
Taran Adarsh admits that Afwaah deserved a wider release. “Every film deserves a dignified showcasing because a lot of hard work and time goes into making a film. So, makers should release a film properly and market it well,” he says.
Adarsh adds that the lukewarm promotions were another problem, pointing out that people weren’t even aware that the Anubhav Sinha-backed venture was releasing on May 5.
“There was no awareness in public about Afwaah. But as far as the promotional budget and strategy go, the producer is the best person to answer this. Also, The Kerala Story has become so big that every other film has got sidelined,” he adds.
Afwaah’s leading man Siddiqui too had qualms about the low-key release. In a recent interview, the actor called it “wrong”, asserting that the film should reach the audience. Exhibitor Chauhan, however, views the situation differently. He says that producer Sinha had to opt for a theatrical release because OTT platforms today refuse to buy direct-to-digital films.
“The producer is just trying to minimize losses. If the film had got 200 or 300 screens, I don’t think it would have fared better because there is no interest among the public. If there was some interest, we would have known, and the producer would have increased the screens over the weekend. But that didn’t happen,” he argues.
At Delhi screening, everyone asked the same question: ‘How has Afwaah passed the censor?’-Sudhir Mishra
10:17 AM
Asserting that Afwaah is not about love jihad, director says film that explores provocative theme of rumour-mongering was cleared by CBFC without major cuts
Mohar Basu (MID-DAY; May 6, 2023)
On Friday, Sudhir Mishra’s Afwaah and Sudipto Sen’s The Kerala Story released alongside one another, two stories that are ideologically poles apart. As we get on a call with Mishra, it hasn’t escaped his notice that his movie, which revolves around rumour-mongering, has failed to make it to prime-time news the way the other release has.
The filmmaker says, “Times are strange. Eventually, the idea is that the film reaches out to people. It’s meant for conversation. I usually don’t give a damn about how people react, but with this one, I do.”
With Mishra, you can be assured of strong political movies with urgent themes at their centre. The Nawazuddin Siddiqui and Bhumi Pednekar-starrer appears to have been crafted to serve a specific purpose — to provoke powerful forces.
“My intention is not to insult anyone. Afwaah is exactly the film I wanted to make. As for [it being] provocative, when I came out of the screening in Delhi, everyone asked the same question: ‘How has the film passed the censor?’ But it did, without its core compromised or major cuts made. We are probably wrong. We are living in a freer society than we think. The CBFC is autonomous.”
Afwaah follows Pednekar’s character Nivedita, who escapes her politician-fiance’s clutches and is chased down by his men. When Siddiqui’s Rahab Ahmad steps in to help her, the politician turns Nivedita’s rescue into a false love jihad narrative. Point out that the film’s promotional material steers clear of touching on love jihad, and the director explains,
“The film is about what if a monster chasing you is a rumour, about the atmosphere and belief systems in which rumours thrive. The film is not about love jihad; it is about being trapped in a Kafka-esque absurdity.”
Would he have marketed it differently if we were living in different times? “My job was to make a film, and I made an honest one. We are living in cynical times. Almost no one expects us to tell stories of such nature anymore.”
The filmmaker admits that the week’s other release, The Kerala Story, offers an alternate view. He believes movies with conflicting views pave the way for an open dialogue and an inclusive society.
“Both films are true and valid. It’d be interesting if people watched both. People say that no one is talking about our times. I am, and I can only hope that people don’t reject the film. I even did a podcast with Vivek Agnihotri. I wish to encourage conversations between people of various value systems.”
(Crisp) Movie Review: AFWAAH by FENIL SETA
5:12 PM
Afwaah tells an important story that is very relatable to the times we are living in. As the title suggests, it revolves around a rumour started by certain people with ulterior motives that put lives in danger. The film starts on a slow note but then gets engaging. Director Sudhir Mishra exposes not just how rumours are generated and spread but also how gullible people don’t think twice before forwarding unverified claims. There are quite a few nail-biting moments which keep the interest going. On the flipside, some developments are silly. The director tried to smartly intercut a crucial moment in the climax with another scene and it didn’t really work. Also, to make Nawazuddin Siddiqui speak in English seemed unconvincing. Otherwise, the actor has done very well. Bhumi Pednekar performs better and gets completely into the skin of her character. Sharib Hashmi is terrific as always while Sumeet Vyas, Sumit Kaul and Eisha A Chopra are dependable. T J Bhanu (lady cop) leaves a mark. The same goes for Appurv Gupta; he’s too good as the IT cell expert. All in all, Afwaah is a decent one-time watch thanks to its plot, message and performances.
My rating - *** out of 5!
Fenil's Bollywood Talk # 776
10:09 PM
WILL THE MARVEL FILM AND VIPUL SHAH’S NEXT BRING CHEER THIS FRIDAY?
Kisi Ka Bhai Kisi Ki Jaan, which was released two weeks back, dropped rapidly in the second week. It crossed the Rs. 100 crore mark today, that is, on its thirteenth day of release and this is not a good sign at all. Meanwhile, the month of May doesn’t have a significant Hindi release. Only small and mid-sized films will try their luck and it remains to be seen if any of them manage to surprise.
The big release tomorrow is Guardians Of The Galaxy Vol. 3. It is a part of the Marvel Cinematic Universe. At one point, this franchise was huge but off late, the brand has taken a beating as their recent films didn’t impress audiences much. Guardians Of The Galaxy’s characters, meanwhile, are not as popular as Spider-Man or Thor. Hence, due to these two factors, it’s next to impossible for the third part to get an opening in double digits.
Marvel’s Black Panther: Wakanda Forever collected Rs. 11.75 crores on its first day while Ant-Man And The Wasp: Quantumania, the last Marvel film to release, opened at Rs. 8.50 crores. As per the advance trends, Guardians Of The Galaxy Vol. 3 should open between Rs. 7 and 8.50 crores. Thankfully, the reports are very positive and this can help the film put up a healthy lifetime. Ant-Man And The Wasp: Quantumania had not even managed to cross the Rs. 50 crores mark. The aim for Guardians Of The Galaxy Vol. 3 should be to do a half-century at least at the box office.
Speaking of Hindi releases, the biggest this week is The Kerala Story. Starring Adah Sharma, it is produced by Vipul Shah. The film is dubbed as 'The Kashmir Files of 2023'. It tells the story of a group of women who are fooled, made to convert to Islam and then join ISIS.
As expected, with a subject like this, a section of society are themselves promoting the film. It has also resulted in decent advances. The Kashmir Files saw record block bookings in its first two weeks. It is expected that The Kerala Story will also get similar kinds of mass bookings, which will lead to a healthy lifetime. The Kashmir Files went on another level as it opened at Rs. 3.36 crores and then collected a mind-boggling Rs. 246.91 crores in its lifetime.
The Kerala Story is expected to open at around Rs. 2-3 crores and it also could be higher, if the block bookings start from tomorrow. It seems unlikely if it can collect more than Rs. 200 crores like The Kashmir Files. Nevertheless, if word of mouth is positive, it can do well. Since the costs are limited, even if it has a lifetime of Rs. 30 or 40 crores, it’ll prove to be a profitable venture.
The Kerala Story, however, faces some challenges. In the case of The Kashmir Files, the makers had solid proof to claim that what they have shown in the film is authentic. With The Kerala Story, the makers made a blunder as they claimed that nearly 32,000 women from Kerala have gone missing and joined extremist forces. It led to a lot of brouhaha with many even offering cash rewards to anyone who can prove this claim. The makers then had to tweak the trailer and remove the claim of 32,000 women. This led to the perception that the makers haven’t done their research well and are deliberately maligning a state that is perceived to be progressive.
Nevertheless, The Kerala Story can still attract audiences but the craze won’t be the same as The Kashmir Files.
Lastly, Afwaah also releases tomorrow. Directed by Sudhir Mishra, it stars Nawazuddin Siddiqui and Bhumi Pednekar and tells an important tale. However, the awareness is negligible. Many are not even aware that there’s a film by this name. It is produced by Anubhav Sinha whose last film Bheed opened poorly at Rs. 45 lakhs. This one might open on the same lines and maybe, it can have a lower opening as well.
Kisi Ka Bhai Kisi Ki Jaan, which was released two weeks back, dropped rapidly in the second week. It crossed the Rs. 100 crore mark today, that is, on its thirteenth day of release and this is not a good sign at all. Meanwhile, the month of May doesn’t have a significant Hindi release. Only small and mid-sized films will try their luck and it remains to be seen if any of them manage to surprise.
The big release tomorrow is Guardians Of The Galaxy Vol. 3. It is a part of the Marvel Cinematic Universe. At one point, this franchise was huge but off late, the brand has taken a beating as their recent films didn’t impress audiences much. Guardians Of The Galaxy’s characters, meanwhile, are not as popular as Spider-Man or Thor. Hence, due to these two factors, it’s next to impossible for the third part to get an opening in double digits.
Marvel’s Black Panther: Wakanda Forever collected Rs. 11.75 crores on its first day while Ant-Man And The Wasp: Quantumania, the last Marvel film to release, opened at Rs. 8.50 crores. As per the advance trends, Guardians Of The Galaxy Vol. 3 should open between Rs. 7 and 8.50 crores. Thankfully, the reports are very positive and this can help the film put up a healthy lifetime. Ant-Man And The Wasp: Quantumania had not even managed to cross the Rs. 50 crores mark. The aim for Guardians Of The Galaxy Vol. 3 should be to do a half-century at least at the box office.
Speaking of Hindi releases, the biggest this week is The Kerala Story. Starring Adah Sharma, it is produced by Vipul Shah. The film is dubbed as 'The Kashmir Files of 2023'. It tells the story of a group of women who are fooled, made to convert to Islam and then join ISIS.
As expected, with a subject like this, a section of society are themselves promoting the film. It has also resulted in decent advances. The Kashmir Files saw record block bookings in its first two weeks. It is expected that The Kerala Story will also get similar kinds of mass bookings, which will lead to a healthy lifetime. The Kashmir Files went on another level as it opened at Rs. 3.36 crores and then collected a mind-boggling Rs. 246.91 crores in its lifetime.
The Kerala Story is expected to open at around Rs. 2-3 crores and it also could be higher, if the block bookings start from tomorrow. It seems unlikely if it can collect more than Rs. 200 crores like The Kashmir Files. Nevertheless, if word of mouth is positive, it can do well. Since the costs are limited, even if it has a lifetime of Rs. 30 or 40 crores, it’ll prove to be a profitable venture.
The Kerala Story, however, faces some challenges. In the case of The Kashmir Files, the makers had solid proof to claim that what they have shown in the film is authentic. With The Kerala Story, the makers made a blunder as they claimed that nearly 32,000 women from Kerala have gone missing and joined extremist forces. It led to a lot of brouhaha with many even offering cash rewards to anyone who can prove this claim. The makers then had to tweak the trailer and remove the claim of 32,000 women. This led to the perception that the makers haven’t done their research well and are deliberately maligning a state that is perceived to be progressive.
Nevertheless, The Kerala Story can still attract audiences but the craze won’t be the same as The Kashmir Files.
Lastly, Afwaah also releases tomorrow. Directed by Sudhir Mishra, it stars Nawazuddin Siddiqui and Bhumi Pednekar and tells an important tale. However, the awareness is negligible. Many are not even aware that there’s a film by this name. It is produced by Anubhav Sinha whose last film Bheed opened poorly at Rs. 45 lakhs. This one might open on the same lines and maybe, it can have a lower opening as well.
You get (scripts like Afwaah) only if your stars are rightly aligned-Sharib Hashmi
8:23 AM
Sharib, who believes that a powerful script like Afwaah is rare to come by, says chance to work with director Sudhir drew him to Nawaz-starrer
Priyanka Sharma (MID-DAY; May 2, 2023)
If you ask Sharib Hashmi, he’ll tell you patience and self-belief are key to surviving in this industry. They saw him going from bit roles in Jab Tak Hai Jaan (2012) and Batti Gul Meter Chalu (2018), to prominent parts in The Family Man and now, Afwaah. In fact, when it comes to a film as powerful as Sudhir Mishra’s directorial venture, he says you need more than patience.
“It’s very difficult to come across such scripts. [You get them] only if your stars are rightly aligned,” Hashmi smiles.
With Afwaah, the actor ticked several boxes off his wish list — be it telling an urgent story about the menace of misinformation, or working with Nawazuddin Siddiqui and Bhumi Pednekar. Hashmi though was sold on the idea of working with Mishra.
“I’ve been a big fan of Sudhir sir’s films. Just to be a part of his world was enough reason for me to sign this film. He [guided me] by way of the inputs he gave when we were shooting, or the way he described my character. He gave us a free hand. He’d put the scenario in front of us, and let us be.”
Things have been looking up for the actor since The Family Man. “Everything that I am right now is because of the show. People’s perception changed after it. I had thought I’d only get to play the hero’s friend after that. But fortunately, I’m offered a variety of roles.”
My offer is open to Anurag Kashyap, Ketan Mehta and a few other friends-Anubhav Sinha
7:57 AM
Throwing his weight behind director-friends Hansal and Sudhir’s movies, Bheed maker Anubhav says viewers must explore beyond big-scale entertainers
Priyanka Sharma (MID-DAY; March 31, 2023)
Filmmaker Anubhav Sinha has an open offer for his director-friends. They decide the story they want to tell, and he will throw his weight behind the project. This year, he has backed Hansal Mehta’s Faraaz. “The same offer is open to [Anurag] Kashyap, Ketan Mehta and a few other friends,” smiles Sinha, whose Bheed hit the screens last week. Up next are two productions — Sudhir Mishra’s drama Afwaah, and an anthology.
Sinha and Mishra were trying to collaborate on a film for the past 10 years. It was the Nawazuddin Siddiqui and Bhumi Pednekar-starrer that finally excited them. “It happened organically that I produced Hansal and Sudhir bhai’s films. Sudhir bhai and I talk four times a day, discussing new stories. Producing is creative, social and personal.”
Sinha, who made his feature film directorial debut with Tum Bin (2001), has come a long way in the past two decades — directing hard-hitting films like Article 15 (2019) and Thappad (2020), while enabling his peers to tell their stories.
“I don’t look at what I am doing as helping someone tell a story. That’s too condescending [to others]. I am in a position today where I [have] money [to support] a film that I think should be made. Tomorrow, someone else will be in this position, and he will hopefully say that about my film. It’s about sharing the individual’s belief in the film.”
While he attaches his name to small but significant stories, the audience, of late, seems to show an inclination towards big-scale entertainers.
Point it out to Sinha, and he doesn’t mince his words, as he states, “While one seeks approval from the audience, one also wants the audience to identify a good film and back it. One is disappointed when they don’t go and watch a film like Faraaz, which was about youngsters and got great reviews. They need to explore newer kinds of films. It has become a convenient discussion that some films are made for OTT, and some for theatre. Watching a film on OTT is like having coffee, and not smelling it. In theatres, you can [fully experience] a movie.”
The villainization of the film industry is ridiculous-Sudhir Mishra
8:23 AM
Mishra, whose next Afwaah explores menace of misinformation, on the hate narrative that has been spun around Bollywood in recent years
Priyanka Sharma (MID-DAY; March 30, 2023)
Sudhir Mishra’s thought-provoking films are an extension of his opinionated self. He continues his brand of cinema with the upcoming Afwaah, starring Nawazuddin Siddiqui and Bhumi Pednekar. Through the thriller, the filmmaker explores the prevalent menace of misinformation in India today. At a time when artistes across the country are finding it increasingly difficult to express their views, fearing political backlash and social media trolling, Mishra appears to have found a clever way to convey his thoughts.
He advises, “Be strategic. Sometimes, when you say things in indirect ways, they become even more powerful. As a filmmaker, if I say I am scared, what example am I setting for the younger lot?”
The filmmaker, who has given us Chameli (2004), Hazaaron Khwaishein Aisi (2005), and Serious Men (2020) in the past, admits that the attitude towards movies has undergone a sea change. “Outside the film industry, everyone has become a censor now. [If] I say something, everyone thinks they are allowed to bash me. That is dangerous.”
That said, Mishra is also aware of the systemic problems that the Hindi film industry continues to breed. He points out how stories are often compromised at the convenience of their leading stars. “I find it hilarious that an industry, which changes its stories because a star said so, talks so much about censorship. It happens constantly. Some [star] says, ‘I don’t like this’, and [filmmakers] change [the script]. But then, they [also] complain about censorship.”
In the past few years, Bollywood has been at the receiving end of much vitriol, with the narrative being spun about how sections of the entertainment industry are ‘anti-national’. The director is appalled at how the movie industry’s contribution is undermined, its role sometimes villainized. “The villainization of the industry is ridiculous. We are soft targets. [Sure], a lot of people in the business are overpaid, but 90 per cent of the people are hard-working. They do their work honestly. The film industry does good — it educates and entertains the audience for two hours. I think the country treats them badly. It is the government’s job to look after the film industry, which is a public service in my opinion.”
Had OTT come before, I think I would have made more films-Sudhir Mishra
8:24 AM
Sudhir Mishra, whose directorial venture Afwaah explores menace of misinformation, says digital boom has united film industries like never before
Priyanka Sharma (MID-DAY; February 16, 2023)
“As a filmmaker, you have to react to the times,” says Sudhir Mishra, at one point in our conversation. The line probably best encapsulates his movies — be it Hazaaron Khwaishein Aisi (2005) that is set against the Emergency, or Serious Men (2020) that studies class difference. Expectedly, his next, Afwaah too is built on the pillars of realism and relevance.
Through the Nawazuddin Siddiqui and Bhumi Pednekar-starrer, the director explores the menace of misinformation prevalent in India today. “If you repeat a lie often enough, today, it becomes the truth. You cannot convince a dumb lot of people that this is a lie. That can have dangerous consequences. I thought that was a great basis for a thriller, which also comments on our times,” says Mishra. He lived with the central idea of Afwaah for quite some time before putting pen to paper. After he finished scripting, the director could only imagine his Serious Men collaborator Siddiqui in the lead role.
It wasn’t the actor’s talent alone that determined the choice. With Siddiqui having played several dark roles, Mishra wanted to showcase him in a new light. “He has always been cast in dark and criminal roles. In Serious Men, he was flawed, but he was also in love with his son. In Afwaah, I wanted to cast him as a regular human being — a part where you could cast any other actor,” he reasons, adding that Pednekar came to his mind when he was writing the movie.
“You write and write, and then some person comes into your head. Sometimes, you get lucky when the person says yes. Casting Bhumi was easy.”
The thriller joins Mishra’s list of unconventional stories. Tell him that the OTT boom has blurred the lines between mainstream and off-beat movies, and the director observes, “Now, [the different film industries] are joined like never before. When a Malayalam film releases on an OTT platform, it reaches [the Hindi filmmakers] at the same time as it does other [regional industries]. Had OTT come before, I think I would have made more films.”
Aspiring director Sumeet Vyas says observing Sudhir Mishra on Afwaah set taught him valuable filmmaking lessons
8:26 AM
Sumeet Vyas, who will foray into direction soon, says being on Sudhir’s Afwah set taught him valuable filmmaking lessons
Priyanka Sharma (MID-DAY; December 21, 2022)
Inarguably, the best place to learn filmmaking is a movie set. For Sumeet Vyas, it has to be a Sudhir Mishra set. The actor-writer, who is gearing up to turn director, says that he silently observed the filmmaker as they shot for their next, Afwah.
“I wanted to see how he [approaches a subject], how he works through the nuances. [Collaborating with Mishra] was like a film school. I was like a Go Pro, always observing him as he went about creating a moment,” says Vyas, who plays a pivotal part in the Nawazuddin Siddiqui and Bhumi Pednekar-starrer.
Afwaah, he says, is what one has come to expect from Mishra — an original story viewed from his keen lens. “I have always enjoyed Sudhir sir’s films because he has a unique voice. It was refreshing to be on a set with people who are passionate [about the project].”
Vyas intends to apply the learnings from this experience in his directorial debut. The actor reveals that the project is currently in the writing stage. “It’s a high-concept film. I am writing it, and there should be an announcement in some time.”
For now though, Aar Ya Paar has his attention. The actor plays a cop in the Disney+ Hotstar series. “With Afwah and Aar Ya Paar, the attempt is to break the clutter that has set in. It’s a problem when you make a show only because something is the flavour of the season, and not because you want to tell a new story. If corporate [heads] tell you what content to make, it will always be a problem. You need people with an understanding about stories [to take such calls],” says the actor-writer of Tripling fame.
Meri kaun si picture ko OTT mana kar raha hai?-Nawazuddin Siddiqui
8:38 AM
Nawazuddin Siddiqui claims he has no idea why rumours about his movies failing to attract buyers on web are circulating
Rishabh Suri (HINDUSTAN TIMES; December 5, 2022)
Nawazuddin Siddiqui was one of the first Indian actors to jump on the streaming business when it started to dominate in India. His role as Ganesh Gaitonde in Sacred Games, which received international acclaim, prompted everyone to sit up and take notice that this medium is here to stay. But then, after some time, came his statement that he wouldn’t work on OTT platforms any more. He felt that the web had become a “dumping ground for redundant shows”.
However, it has recently come to light that as many as eight of the actor’s films are not finding buyers on streamers, and the makers do not want to go the theatrical route. When asked about it, the 48-year-old tells us, “Pata nahin kahaan se yeh issue aaya! Meri kaun si picture ko OTT mana kar raha hai? Mujhe toh pata nahi yeh news kahaan se aayi. Meri films ready nahi hui hain: Haddi is still being shot; I have finished shooting for Afwaah; now it is in the post-production stage, and the work on it will take at least a year or six to seven months. Besides that, dubbing work for all my films is pending, which also includes Jogira Sara Ra Ra. Tiku Weds Sheru will come to a leading OTT platform; I don’t know when, though.”
But where are these rumours coming from, we wonder? Does he have any rivals who might be involved? “Main aisa aadmi hoon jo apna ghar bech ke bhi film banna lunga. They won’t get anything by pulling me down. I am a stubborn person. I will make my own films,” ends the actor.
When my body will naturally tell me to slow down a little, only then I will slow down-Bhumi Pednekar
8:14 AM
Bhumi Pednekar wants to make up for the time lost due to the pandemic
Sugandha Rawal (HINDUSTAN TIMES; September 6, 2022)
Back-to-back shooting schedules have kept Bhumi Pednekar very busy this year, and she has no intention of slowing down. The actor says she is currently in “revenge work mode” and making up for all the time she missed due to the pandemic-related lockdowns.
“I feel me-time is extremely important, but this year I have not had a lot of that. But I’m a workaholic and I want to catch up on lost time,” says the actor, who was last seen in Raksha Bandhan, adding, “I’m so grateful for all the opportunities that I have that I don’t feel like slowing down at the moment. When my body will naturally tell me to slow down a little, I think only then I will slow down. But at the moment, I’m on a high. I’m having a blast.”
About her projects, the 33-year-old informs, “I have recently worked on Afwaah, which stars (actor) Nawazuddin Siddiqui sir, and is directed by Sudhir Mishra. It is such a wonderful project. It is actually my fourth film this year. I have already finished The Ladykiller and Bhakshak. My year started with a bang with Badhaai Do. The second half of the year is going to be super packed too. I have back-to-back shooting schedules and will start filming for two new projects.”
Ask her if she also plans on expanding her horizons in the industry — for instance, taking up direction, production, or writing — and Pednekar shares, “I don’t feel the need for it right now because my hands are so full at the moment. But because I love cinema so much, I’m sure I will diversify at some point, and that could be directing, producing, or singing.”
Exhibitors told me ‘Who will see a film about people who don’t look like them?’-Anubhav Sinha
4:01 PM
Upset about Anek’s underwhelming run, director Sinha says he had a nagging feeling that mainstream audience wasn’t ready to see north-east actors on screen
Mohar Basu (MID-DAY; June 28, 2022)
With Mulk (2017), Article 15 (2019) and Thappad (2020), Anubhav Sinha married content and commerce. But his hot streak stood broken with Ayushmann Khurrana and Andrea Kevichusa-starrer Anek. When we sit down to chat with the filmmaker, that’s where we begin. “When I made Anek, no one was questioning me. I had three back-to-back successes, so everyone felt I knew something. That isn’t true. Nobody knows anything. When I told Ayushmann the story, he lobbied for it. I wanted to do another film first, but everyone liked this project more,” he says.
Walking into the film that champions inclusivity, Sinha worried whether the mainstream audience would accept north-east actors on screen. “I had the nagging feeling that mainstream India will be put off looking at faces they are not used to. The Hindi accent [used] is not regular either. Within four days of releasing the film, I was in Istanbul with an acclaimed political journalist. He said the reason you made the film is the very reason the [audience] isn’t watching it. It broke my heart further. When I spoke to exhibitors, they said, ‘Who will see a film about people who don’t look like them?’”
Confident of his material, the filmmaker states that a good film always lives on. “It has dropped on Netflix, so it will find more viewers.”
The movie’s political leaning could be a deterrent at a time when the language of Hindi cinema is changing amid the saffron wave. But Sinha believes a movie about mainland authoritarianism should find takers. “The mainland thinks they are India. But I chose the north-east to tell that story. Starting from Mulk to Article 15, there were questionable scenes from the point of view of the State. I am not referring to the current regime, but to the State in general. The CBFC, however, has always been kind to me.”
Anek’s underwhelming response, fortunately, hasn’t shaken Sinha’s belief in his stories. His production house is backing several powerful movies — from Bheed to Hansal Mehta’s Faraaz, from Sudhir Mishra’s Afwaah to an anthology. “I am trying to find a different formula for theatrical release. A film like Faraaz or even Anek is not playing the same game as say, a Bhool Bhulaiyaa 2. I am working on a formula whereby films shouldn’t be denied the opportunity of being in theatres because that’s where the captive audience is. That captivity is a choice at home. It shouldn’t be denied to a film.”
We all want a full house, an audience, and want our films to succeed-Sudhir Mishra
8:10 AM
Rishabh Suri (HINDUSTAN TIMES; June 8, 2022)
Filmmaker Sudhir Mishra isn’t one to outright deny that box-office collections matter for a film. He is yet to make a masala potboiler, but he is satisfied that the films he has made till date have paid for themselves, while telling stories that he wanted to tell.
“We all want a full house, an audience, and want our films to succeed as well as connect with people all over the country. Some of us can appeal to a large niche and others to a more mass audience. I think you should stick to who you are rather than attempt something different. My films recover their money and connect with a larger audience,” shares the Serious Men (2020) director.
He further says that he feels happy when a content-driven film manages to strike a chord with the masses and not just one particular class of audience, as it makes the deal sweeter. He says, “There is a kind of audience that likes my films, and I am quite happy with that. I’m confident that if my film reaches a large audience and earns Rs. 200 crore, I will be pleased.”
His next is another subject-heavy film, with actors Bhumi Pednekar and Nawazuddin Siddiqui. Mishra is taking the full onus on himself for the fate of the film. “This is the kind of film I have been meaning to do for two-three years now. It’s on the road and is called Afwaah, which means rumours. Sometimes, rumours kill. It’s about two people trapped in a roller-coaster ride in which a rumour kind of chases them and how they survive that. It’s an edgy, thrilling and darkly funny film. I hope I can pull it off, because I have a great star cast and a wonderful producer. If it doesn’t work, then the fault would be mine,” he ends.
Nawazuddin Siddiqui-Bhumi Pednekar starrer Afwaah to be shot entirely over night schedule in Rajasthan
8:16 AM
With Afwaah revolving around happenings of one night, Nawaz-Bhumi starrer to be shot entirely over night schedule in Rajasthan
Upala KBR (MID-DAY; April 27, 2022)
Nawazuddin Siddiqui, who has a release in Heropanti 2 this week, will soon switch gears to front the thriller, Afwaah that marks his maiden collaboration with Bhumi Pednekar. Not many know that Sudhir Mishra’s directorial venture revolves around the mysterious happenings of one night. Come June, the cast and crew will head to Rajasthan where they will only shoot nights over the one-month-plus schedule.
Through its two central characters, the thriller delves into the quirky and twisted psyche of humans. A trade source reveals, “Afwaah revolves around how people believe rumours over facts these days. It’s a road thriller that will be filmed entirely over nights, and wrapped up in a start-to-finish schedule in Alwar.”
Shooting after hours is not new to Mishra, whose Iss Raat Ki Subah Nahin (1996) too played out over one night. The director is excited to reunite with Siddiqui after their acclaimed satire Serious Men (2020).
“Nawaz has a strong skill set, yet he approaches his roles in an innocent and naïve way. I like the combination of the brilliant technical control that he has [over his craft], and the way he allows the moment to affect him. Nawaz never tries to show off as an actor; he never attempts to obstruct the scene, but allows it to go wherever it needs to. At the end of the film, you realise what an effortless performance he has given,” says the director. He is looking forward to working with Pednekar, as he says, “Bhumi is one of the best actors we have today. She flows [as an artiste].”
I have waited long for an opportunity to work with Nawazuddin Siddiqui-Bhumi Pednekar
8:35 AM
Excited to work with Nawazuddin Siddiqui, Bhumi Pednekar on her next under Sudhir Mishra’s tutelage
Upala KBR (MID-DAY; March 13, 2022)
Challenging stereotypes as she goes along, Bhumi Pednekar, who was last seen in Badhaai Do, is thrilled about her next film Afwaah. While the quirky thriller had her intrigued, it was the opportunity of working with Nawazuddin Siddiqui and Sudhir Mishra that truly brought her onboard. “I have waited long for an opportunity to work with Nawaz sir. He is a stalwart in cinema and one of the best actors in the country. I am going to learn so much from him,” she says, adding, “[Working with] Sudhir sir [has always been] on my bucket list. I think he’s an actor’s dream director.”
Set to be shot in Alwar, Rajasthan, in the summer, Afwaah comes with a social message, something Pednekar has always steered towards. A source says, “[This] is perhaps one of the most challenging and powerful roles of Bhumi’s career. It’s a layered character that gradually unfolds as the screenplay unravels.”
Pednekar, who also has The Lady Killer, Anubhav Sinha’s Bheed, Shashank Khaitan’s Govinda Aala Re and Raksha Bandhan in the pipeline claims that she picks characters that have a bit of her in them. “[My characters] are women who stand up for themselves, and I find them aspirational. I want to break every kind of stereotype. Cinema is a powerful medium and if used in the right manner, it can be inspiring. I want to leave behind that kind of legacy.”
Nawazuddin Siddiqui, Bhumi Pednekar in Sudhir Mishra’s Afwaah; produced by Anubhav Sinha
8:31 AM
The two filmmakers will collaborate with Bhushan Kumar on the film
BOMBAY TIMES (February 16, 2022)
Long-time friends Sudhir Mishra and Anubhav Sinha are all set to collaborate on an exciting project. Titled Afwaah, Sudhir is set to helm a film proT-Series and Anubhav Sinha’s Benaras Mediaworks. It brings together the unique cast of Nawazuddin Siddiqui and Bhumi Pednekar. The two prolific actors make for an interesting lead pair.
Anubhav Sinha says, “Afwaah is a novel story rooted in the heartland of India. I am very excited to have this powerhouse of talent lead it. Once we locked Nawaz and Bhumi, we knew we had found the actors who’ll take the material off the page and create magic with it.”
Sudhir Mishra says, “It’s a story I have lived with for a long time. I have worked each day to make it quirky and twisted. The handling of the film would be adventurous with an experimental tonality, but beneath all of it lies a crucial message that I want my viewers to take back home with them. When I was casting for the movie, I knew it had to be unique. After Serious Men, it was only natural that Nawaz and I got together again for another story. The way the character is written, I knew only Nawaz could pull it off, and this will be, I promise you, a new Nawaz. It was Sinha who suggested Bhumi. She brings immense passion to her stories and is such a fine actor. They both are such powerhouse performers, and together they bring a fresh chemistry. I can’t wait to be on set with them.”
Producer Bhushan Kumar adds, “Every time I work with Anubhav Sinha, it’s an association worth remembering. What started with Thappad has now fructified into a long-term bond that extends over multiple movies. With Anek and Bheed, I have seen his grit and ability to tell masterful stories. Sudhir Mishra is a filmmaker with a fiery unputdownable voice, and with talents like Bhumi and Nawaz, the film will only soar to greater heights.”
Afwaah, which means rumours, takes on the subject of rumour-mongering and misinformation. The makers are expected to begin workshops with the cast this month. The film will go on floors soon and be shot in an elaborate schedule in Alwar, Rajasthan.
Anubhav Sinha’s Benaras Mediaworks present Afwaah, directed by Sudhir Mishra and produced by Bhushan Kumar, Krishan Kumar and Anubhav Sinha.
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