Showing posts with label Anek. Show all posts
Showing posts with label Anek. Show all posts
Lights, camera, North-east: With UP-Bihar setting wearing thin, filmmakers are exploring new landscapes
11:26 PM
With UP-Bihar setting wearing thin, filmmakers are exploring new landscapes but can they move away from old tropes?
Mohua Das (THE TIMES OF INDIA; January 4, 2026)
For years, Bollywood’s favourite ‘badlands’ lay along the UP-Bihar belt of dusty highways and men with guns and grudges. Now, that compass is swinging North-East, once barely on the mainstream filming map.
In just three years, the region has become the backdrop for Hindi cinema and streaming’s biggest crime and thriller titles. Filmmakers are digging into folklore, cross-border politics, forest corridors, trafficking routes and scenarios where drug deals are struck, ministers beheaded, borders breached, and relationships tested. Basically, a fresh set of tensions and terrain for filmmakers to tap.
‘Anek’ director Anubhav Sinha’s conversations with his Tai Chi teacher from Nagaland led him to explore the churn caused by the stalled 2015 Naga Peace Accord to questions of identity. Varun Dhawan-starrer ‘Bhediya’ draws from Arunachal’s shape-shifting werewolf lore, Kangna Ranaut’s ‘Emergency’ was shot across Assam, including Kaziranga and Karbi Anglong, and ‘Fighter’ staged key action scenes at the Tezpur Air Force Station.
And then came the OTT surge. ‘Jaanbaaz Hindustan Ke’ shot in Meghalaya’s dense Tura jungles, ‘Paatal Lok 2’ filmed deep across Kohima using Nagamese and local actors. ‘The Family Man 3’ was set in hill and border towns like Kohima, Khonoma, Jakhama, and Jotsoma.
If you ask Simanta Shekhar, chair of the Assam State Film Finance and Development Corporation, this shift was enabled by the building of key infrastructure like roads and airports. The region is also not the tinderbox many outsiders still imagine. “There is less instability and crime indices are low, and people roam till midnight.” He adds, “Almost all the north-eastern states have a woman-centric society, which is reassuring to cast and crew who tend to ask, ‘kitna safe hai?’”
James Handique, the go-to line producer who facilitates shoots in the region, agrees. “People haven’t faced any tensions during shoots,” he says. Only Manipur, with unpredictable shutdowns, remains sensitive.
Where the region still lags is logistics. “Accommodation, availability of equipment and transport often decide whether a production stays or shifts mid-shoot to Thailand or Malaysia which have similar terrain,” explains Handique, adding that govts are now expanding homestays, developing community tourism projects, improving roads and investing in film infrastructure. “Compared to 2011, a lot has changed,” he says, but flying in 300 people from Mumbai is still pricier than shooting in Bangkok.
It’s why, for decades, Handique’s memories of filming in the region were limited to “a few sequences of the film ‘Koyla’ in Arunachal”. Oddly enough, it was reality TV that broke the ice.
“When MTV Roadies rolled into Nagaland, Assam and Arunachal around 2011-12 with a large crew and long schedule, they were amazed. They discovered three distinct visual worlds. Sikkim and Arunachal with snow-capped mountains, Assam with the Brahmaputra plains and rice fields, and Meghalaya with its caves and waterfalls.”
The big wave arrived after the pandemic, when the UP-Bihar template had been stretched thin. The NorthEast — visually spectacular, culturally layered — became an obvious next frontier.
When filmmakers dwell on the region’s darker side, Simanta doesn’t object, as long as the storytelling is fair. “They can show it, but in a positive way of how it’s tackled,” he says. Handique says that The Family Man 3’s depiction of Nagaland as a corridor for narcotics moving from Myanmar “is not factually wrong at all”. If done responsibly, he says, it “can bring the right kind of attention and awareness.”
States have sharpened their pitch. Assam’s new film policy — awaiting cabinet approval — promises “lucrative subsidy” and faster permissions. To help writers explore the region’s hidden histories and tales, Handique says a new writers’ room is forming. “I’ve handpicked regional writers and experts and connected them to national creative teams.”
Folklorist and Guwahati University professor Meghna Choudhury — part of this writers’ bench — hopes filmmakers begin noticing more than “forests, insurgency and inaccessibility”. Locals ensure that the nuances are captured right. For instance, filmmaker Tiakumzuk Aier doubled up as dialect coach, teaching Nagamese and fixing “small details” like names and pronunciation. His troupe from Dreamz Unlimited — among Nagaland’s biggest YouTube channels — turned up in force.
Aier himself appears as a cop in ‘Paatal Lok’ and a Naga minister in ‘The Family Man’. The unit, Handique says, had a crew of 2,000 per day, “out of which 200-300 were locals which gave them experience and training”. Anungla Longkumer joined ‘Paatal Lok 2’ as cultural consultant and was involved in things like scanning the script to making sure costumes of Naga tribes were in the right style and colours. On set, she had authority to remove anything that might “hurt the sentiments” of their communities.
She now wants writers to look beyond familiar tropes. “The region is far more than the headhunter or warrior tribe stereotype.”
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.”
This whole subject of nepotism is done [with]; I believe it’s talent that thrives-Ayushmann Khurrana
7:42 AM
Ayushmann, whose Anek has received mixed response, discusses how he didn’t face discrimination in the industry
Uma Ramasubramanian (MID-DAY; June 3, 2022)
Anek may not have worked its charm at the box office, but the film has opened a dialogue about the discrimination against the north-east Indians. For that, Ayushmann Khurrana credits filmmaker Anubhav Sinha who, after the brave Article 15 (2019), approached him again for the social drama. “Anubhav and I have developed a deep bond after Article 15. We were discussing different subjects [for our next]. He was in touch with a lot of people from the north-east; there were a lot of triggers and personal experiences [that shaped Anek],” says the actor.
The film, focusing on the otherisation of a community, has come at an interesting time. Of late, the country has witnessed a raging debate on whether Hindi should be considered the national language.
Asked about his stand on the subject, Khurrana states in no uncertain terms, “We cannot put one language on a pedestal. We need to respect each and every language. In our daily life, we speak an amalgamation of different languages — say, English, Hindi, Urdu and so on. Putting [Hindi] on a pedestal is unfair to a person who hasn’t spoken Hindi since childhood.”
A steady string of successes over the past few years has made Khurrana one of the most reliable actors of the current crop. But his road to the top couldn’t have been easy. As a rank outsider, did he face discrimination in the industry? “I was not discriminated against. I feel we have become more democratic in terms of casting. This whole subject of nepotism is done [with]; I believe it’s talent that thrives. That said, I know people who are not privileged. So, there could be a different kind of discrimination between the privileged and unprivileged, but it’s not [on the grounds] of talent.”
I’m planning to start an office in the north-east, says Mukesh Chhabra
8:20 AM
Casting director Chhabra, who roped in Andrea for Anek, on measures to find more opportunities for north-eastern actors
Hiren Kotwani (MID-DAY; May 31, 2022)
Anek is a strong reminder of how far Hindi movies have come. Only eight years ago, Priyanka Chopra Jonas was cast to play Manipur-born boxer Mary Kom in the eponymous movie. Cut to 2022: director Anubhav Sinha took a much-needed step when he roped in north-eastern actors — including Nagaland-born Andrea Kevichusa — for prominent roles in the drama that focuses on the strife in the north-east. Casting director Mukesh Chhabra has made a strong case for representation with the Ayushmann Khurrana-led film.
“Anubhav sir saw Andrea’s pictures, and asked me to find her. It took us a while to find and audition her,” says the casting director. After Kevichüsa, Loitongbam Dorendra and others were finalised, Chhabra and his team did several workshops with them as part of prep.
The casting director understands that one film is not enough to turn the tide. Keen to find more opportunities for the talent in the region, he shares, “I’m planning to start an office in the north-east. [It will provide opportunities] not only in Hindi films, but also in [film industries] in other parts of the country. I believe if an actor performs convincingly, then a filmmaker must consider him/her.”
(Crisp) Movie Review: ANEK by FENIL SETA
4:10 PM
Anek’s trailer was too good and shockingly, the film is quite the opposite. Director Anubhav Sinha in his 2.0 avatar has delivered some memorable films like Mulk, Article 15 and Thappad. You may or may not like these films but you’ll agree that each one of them was simple and easy to understand. Anek, however, is too complicated. It takes a while to figure out what the makers are trying to convey and even then, it's difficult to fully comprehend the goings-on. The story starts all of a sudden without the backstories of the characters and that further hampers the impact. A few developments are also convenient and to see cinematic liberties in such a setup is unconvincing. What works are a few scenes, the commentary on racism and the performances. Ayushmann Khurrana does a fine job. His looks are quite dashing. Andrea Kevichusa (Aido) is a great find and delivers a smashing performance. Manoj Pahwa and Kumud Mishra are dependable. Loitongbam Dorendra Singh (Tiger Sanga) is good but is let down by the script. His character is actually quite interesting. Same goes for J D Chekravarthy. Mipham Otsal (Wangnao), Jatin Goswami (Major Veer), Thejasevor Belho (Niko), Sheila Devi (Emma) and Lanuakum Ao (Horen) do well. All in all, Anek is an epic disappointment.
My rating - ** out of 5!
Fenil's Bollywood Talk # 727
7:07 PM
WILL AYUSHMANN KHURRANA AND TOM CRUISE BRING CHEER TO THE BOX OFFICE THIS WEEK?
Last Friday’s mega release Bhool Bhulaiyaa 2 has emerged as a huge hit. It opened at Rs. 13.50 crore on Friday and jumped to Rs. 23 crore on Sunday. It has remained rock steady on the weekdays and if all goes well, it will cross Rs. 100 crore mark on Saturday, May 28. This was a much needed hit as no Hindi film had worked after Gangubai Kathiawadi in cinemas.
This week will see the release of two films, with limited mass appeal. The first one is Anek, starring Ayushmann Khurrana in the lead. It is directed by Anubhav Sinha, who has achieved respect thanks to his last three films – Mulk, Article 15 and Thappad. Ayushmann also featured in Article 15 and hence, the return of this director-actor duo has been talked about. Anek’s trailer is quite hard-hitting and promises thrill and a much-needed commentary on the situation in the North-East part of India.
However, the marketing campaign has not been effective. The film also seems niche. Hence, it’ll open at around Rs. 1-1.50 crore. The multiplex type of films has seen a small growth on Saturday and negligible growth on Sunday. Anek can reverse this trend, especially if it's loved by audiences.
The other major release is the Hollywood film, Top Gun: Maverick. It stars Tom Cruise and is the sequel to the 1986 cult film, Top Gun. The trailer is breathtaking and has a lot of aerial stunts. Moreover, Tom Cruise has reportedly done the stunts himself and that’s added to the curiosity.
However, the original film had been released 36 years ago. The present day audience is not a fan of it, like the older generation and it’s the former who forms a chunk of the moviegoing audience. Also, the content is such that despite the big screen appeal, it won’t appeal to the audiences of the dubbed versions.
Top Gun: Maverick had paid previews yesterday, on May 25. From today, May 26, it had a full-day release. The collections have not been encouraging. However, the public reports are positive. Hence, Top Gun: Maverick can pick up on Friday evening. Those wanting to see the film will head to the cinemas as it’s not a film that can be enjoyed at home.
Almost 70 to 80 per cent of the actors in Anek are from the north east-Ayushmann Khurrana
8:01 AM
With Anek depicting discrimination against people from the region, Ayushmann says inclusive attitude towards the community will strengthen our country
Uma Ramasubramanian (MID-DAY; May 25, 2022)
Last year, when the country was hailing weightlifter Mirabai Chanu’s silver medal win at the Tokyo Olympics, Ankita Konwar had called out the Indian population’s hypocrisy, pointing out how people usually subject north-east Indians to discrimination and harassment. The otherisation of the community runs deep, festered by our society’s ignorance and apathy. Fortunately, filmmaker Anubhav Sinha and actor Ayushmann Khurrana are taking a step in the right direction with Anek that brings the geopolitical issues of north-east India to the big screen.
The drama has a singular intent — to encourage inclusivity. The actor states, “We generalise the region as north-east, but people there don’t like to be called so. They are proud of their community, their states, and their languages. We don’t get to know much about them because the media has not covered them. Whenever they [go] to other parts of the country, they are discriminated against and suffer racial abuses. We need to make them feel one with the country. We cannot ignore the region that is far more progressive than the mainland. Including them will help the country become more progressive.”
Anek was shot primarily across Assam and Meghalaya. It gave Khurrana the opportunity to get acquainted with diverse communities, their customs and traditions. “The people in Meghalaya carry forward their mothers’ names; most of the shopkeepers are women while the men take care of children at home. It’s among [the few matrilineal] societies in our country,” he marvels.
When telling a story about north-east India, it would only be right that actors from the region give voice to their experiences and hardships. The director roped in Andrea Kevichusa and Loitongbam Dorendra to play pivotal parts in the drama. Proud that the film places importance on representation, Khurrana says, “Almost 70 to 80 per cent of the actors are from the north-east, with the protagonist [Kevichusa] from Nagaland. I have realised that the story needs to be told by those who have suffered it.”
The actor agrees that an attitudinal shift in our society is necessary, and wants to give momentum to the cause through his work. “I will always say something through my art. I am not confrontational as a person, but as an artiste, I am extremely confrontational.”
At the end of the day, we all want India on the right side of history-Ayushmann Khurrana
8:22 AM
Ayushmann hopes that Anek, which focuses on political issues of north-east India, will foster sense of unity among audiences
Mohar Basu (MID-DAY; May 24, 2022)
Rarely has a mainstream Hindi film focused on the civil and political issues of north-east India. It is not surprising that it took filmmaker Anubhav Sinha and actor Ayushmann Khurrana, two of the braver voices in Hindi cinema currently, to highlight the otherisation of north-east Indians. The actor says the script of Anek resonated with him for its honest intent.
“Anubhav sir and I want people to ponder over the idea of being an Indian. We want people to feel that at the end of the day, we all want India on the right side of history. Anek is a true blue patriotic film. It gives out a progressive message about inclusivity — something that I have stood for through my brand of cinema,” shares Khurrana.
That cinema can be a means to effect social change cannot be denied. Khurrana has seen it first-hand, as his Article 15 (2019) underlined the ills of caste divide and Shubh Mangal Zyada Saavdhan (2020) celebrated queer love. He hopes that Anek will be able to foster unity through its theme of inclusivity.
“I believe sports and cinema have the power to unite India. When you watch a sport, you are united by the emotion of cheering and praying for India’s victory. When you go to watch movies, you [have] a shared experience in a theatre full of strangers. The intent of Anek is [to unite viewers].”
Anubhav Sinha and I have the same DNA when it comes to cinema-Ayushmann Khurrana
8:00 AM
Reuniting with director Sinha for Anek, Ayushmann says they are driven by shared love for telling brave stories
Mohar Basu (MID-DAY; May 18, 2022)
With the upcoming Anek, Ayushmann Khurrana continues bringing uncomfortable stories to the big screen. Through his character of an undercover cop posted in the north-east, the drama delves into the civil and political issues of the region. The actor says that reuniting with director Anubhav Sinha after the hard-hitting Article 15 (2019) was an easy decision.
“Anubhav sir and I have a karmic connection. Sometimes, I feel we have the same DNA when it comes to cinema. He is a filmmaker who wants to challenge the status quo, and has a free-spirited mind. I relate to his core values,” states Khurrana.
While Article 15 shone a spotlight on the caste divide in our country, the actor-director duo have now teamed up to highlight the otherization of north-east Indians. Khurrana says that Sinha, known for his fearless subjects, has “hit it out of the park” again.
The actor adds, “Anek has its heart in the right place. It will make us proud as Indians, and will make people ponder about our identity as an Indian. I have always been drawn to clutter-breaking films, and Anek is one of those gems.”
The actor has Anubhuti Kashyap’s Doctor G and Anirudh Iyer’s Action Hero in the pipeline.
Anek will ask what it takes to be an Indian above all the divide that the country faces-Ayushmann Khurrana
8:28 AM
Set to kickstart the year with Anek, Ayushmann on how Anubhav’s social drama explores national identity and patriotism in current political climate
Mohar Basu (MID-DAY; April 9, 2022)
The one thing that the audience expects from an Ayushmann Khurrana offering is novelty. The actor is assured that Anek, his second project with Anubhav Sinha after Article 15 (2019), will deliver on that count. While it is known that the social thriller is set in north-east India, Khurrana reveals that the director has deftly explored the theme of national identity in the current socio-political climate.
“Anek is a powerful film [that] should invoke a sense of patriotism among the audiences. It will ask what it takes to be an Indian above all the divide that the country faces. [At its core] is a hard-hitting question: What does it take to be called an Indian?”
To the actor, Anek — labelled as an “unlikely patriotic film” by the makers — is an extension of his pursuit for brave stories. Even as he took it slow in the past two years, Khurrana championed queer love in Shubh Mangal Zyada Saavdhan (2020) and brought a transgender romance in Chandigarh Kare Aashiqui (2021).
His line-up for 2022 is equally diverse. “I have always tried to handpick projects that are out of the ordinary, and I’m bringing the best of content that I can find for the audiences to watch,” says the actor, who has a social comedy in Doctor G and a mass entertainer in Action Hero.
Director Anubhuti Kashyap’s medical campus drama, also starring Shefali Shah and Rakul Preet Singh, sees Khurrana as a male gynaecologist. “Doctor G will make people ponder about an important social issue that is told in an entertaining manner,” he says, while admitting that Aanand L Rai’s production Action Hero is a break from his own brand of movies.
With the Anirudh Iyer-directorial venture, the actor has added an out-and-out actioner to his resume. “Action Hero is fresh, zany and quirky. I loved exploring this genre for the first time.”
It’s going to be very difficult to find a good reasonable release window-Anubhav Sinha
8:18 AM
Deep Saxena (HINDUSTAN TIMES; March 6, 2022)
Anubhav Sinha is in no hurry to venture into making an OTT series anytime soon. The Mulk (2018) and Article 15 (2019) director shares, “I have a lot of pressure from my team to come up with a series but I’m in no race to do what everyone else is doing.”
However, the filmmaker, who will be shooting his next project in Lucknow soon, admits that he is open to the idea of OTT. “When I find something very exciting and apt for the platform, then I will surely make one or will produce it,” he tells us, adding, “Now that I have become a writer-director, I prefer to go forward when I have a story! Currently, I am taking up projects which have a voice and are related to our society. That’s more the reason that I started to write or co-write, own the project and then execute it to my best ability.”
Sinha’s last film, Thappad (2020) released two weeks before the cinemas shut down due to the pandemic. Two years after, he feels the scenario regarding releasing projects has changed.
“It’s going to be very difficult to find a good reasonable release window. We have around 5,500 screens and fighting for it is the huge backlog of Hindi, Hollywood and now the dubbed south films as well. South films, too, eye for a pan-India release now, especially after the success of Anubhav Sinha (2021). So, it will not be easy to get a solo release. Big films are pitched against each other in the coming months,” he says.
Sinha, however, is not concerned about the fate of cinemas, which he feels will certainly co-exist with the streaming ecosystem. “In West, we have so many big OTT platforms with big-budget content on them. But cinemas still exist. India is no different. So, it will be on a case-to-case basis, and films that are made for cinematic experience will surely hit the theatre first,” he asserts.
Having shot two films in the pandemic, Sinha, 56, has multiple projects lined up. “Anek and Bheed are ready for release. Then, I have director Hansal Mehta’s Faraaz and Ratna’s (Sinha, his wife) film that we have produced. It’s an anthology that I will be shooting in Lucknow after Sudhir Mishra’s story segment is completed. My comedy film Abhi Toh Party Shuru Hui Hai (shot in 2018) is also completed, and we hope it will also release soon, but probably with a new title.”
He also hints that his next project will again be a film he is writing. “But, before that I will take a break, as I have started feeling that I am overworked now,” he ends.
Fenil's Bollywood Talk # 711
11:21 PM
RESTRICTIONS EASE; RELEASE DATES OF NUMEROUS FILMS ANNOUNCED
Last week, we informed readers that Badhaai Do would release on February 11, 2022. It is the first Hindi film to hit cinemas since December 24, 2021. Thanks to the third wave of the pandemic, all the films scheduled for release in January got pushed ahead. Soon, it became clear that the cases dropped as quickly as it increased and that the numerous states would ease restrictions and allow cinemas to reopen or function till late at night in February. With this assumption, the makers of Gangubai Kathiawadi announced on Friday, January 28, that their film would release on February 25.
The Akshay Kumar-starrer Bachchan Pandey was already announced for a March 18 release two weeks back. In no time, all the rest of the Fridays in March were taken over as Mumbai lifted night curfew and other states also gave or are expected to give relaxations in the next 10 days. The Amitabh Bachchan-starrer Jhund would be the first release in March, and will arrive on the 4th. On March 11, Prabhas-Pooja Hegde starrer Radhe Shyam would hit the theatres. The much-awaited period saga, RRR, would release on March 25. And that’s not all. Ajith’s Tamil film, Valimai, would release widely in Hindi on February 24, that is, a day before Gangubai Kathiawadi.
The historic clash is about to take place on April 14 when the Aamir Khan-starrer Laal Singh Chaddha and the Kannada film dubbed in Hindi, KGF 2, would arrive in theatres. The release dates of both films were announced long back. Unlike other films, these two films have not been pushed. The month of May, too, would see the release of films like Anek, Bhool Bhulaiyaa 2, etc with a couple of more films expected to release. All eyes are also on Jersey, the film that was supposed to release in theatres on December 31, 2021. It is said that it might make it to cinemas either in February or March.
In short, the industry would come back to life this month and in March, the box office would be on fire.
Pandemic after-effects: Bollywood zooms in on the North East
8:05 AM
Sugandha Rawal (HINDUSTAN TIMES; March 10, 2021)
As Bollywood walks on a long road to recovery after the Coronavirus pandemic-induced lockdown, the north east is emerging as a hot favourite shooting destination.
If director Anubhav Sinha is navigating a story of a spy with actor Ayushmann Khurrana in Assam, then Amar Kaushik is all set to trace supernatural tale of Bhediya in the wilderness of Arunachal Pradesh with actors Varun Dhawan and Kriti Sanon.
“While there can never be a positive side to a global pandemic, due to the setback the industry suffered, Bollywood has cemented the fact that India is a shining country when it comes to beautiful locations to shoot,” says producer Bhushan Kumar, who is backing Sinha’s Anek.
Bollywood’s affair with the northeast will continue with Salman Khan also expected to head to Arunachal Pradesh soon for a shoot.
“It is a beautiful unexplored land. The whole land is untouched. We plan to shoot responsibly, without affecting nature at all,” says producer Dinesh Vijan, who’s in Arunachal Pradesh for Bhediya.
Kaushik adds: “We required a background of deep forests, natural habitat and ethnic lifestyle, which Arunachal Pradesh offers in abundance.”
But, going forward will be a bumpy track as the place comes with its own set of challenges, such as lack of properly developed roads and many other logistical issues.
“That is one of the main factors why some of the projects had to be shifted to other locations,” says James Handique, a line producer from northeast.
So, what is contributing to the accelerating momentum? “The first thing is that the region was less affected by the virus, and secondly it is unexplored,” says Handique, who is currently working with Anek team. He adds, “It takes seven days, or maximum 15-20 days to get permission.”
Hopefully, the showbiz glare will also lend in changing the image of the place, and help in dispelling rumours.
“Yes, there are problems with the insurgency but they’ve never targeted tourists or film crews. The Anek team, shooting in a remote part of Assam, is astonished at how supportive the people are. So, the image will change,” he says, adding Meghna Gulzar is expected to shoot her next project in Meghalaya, Assam and Nagaland.
I discussed idea of sporting eyebrow slit with Anubhav Sinha-Ayushmann Khurrana
8:18 AM
Ayushmann Khurrana breaks down how Anubhav Sinha and he lent rugged charm to his character in Anek
Mohar Basu (MID-DAY; February 5, 2021)
Earlier this week, Ayushmann Khurrana reunited with his Article 15 director Anubhav Sinha for Anek. Soon, his first look as Joshua, which sees him sporting an eyebrow slit, became a talking point on social media. The actor reveals that it was his idea to lend a rugged charm to his character by way of the eyebrow cut.
“The objective was to create a distinct look. So, I discussed the idea of sporting an eyebrow slit with Anubhav sir. I have to thank him for being open to my suggestion; that’s what makes our creative partnership so exciting,” says Khurrana, who is currently shooting for the film in Kaziranga, Assam.
Anyone who has worked with the actor will tell you that he often gives creative inputs for his roles. In fact, he had suggested sporting a nose ring in the same-sex love story, Shubh Mangal Zyada Saavdhan (2020). “I had bounced the idea off Hitesh [Kewalya, director] and Aanand L Rai sir [producer] who included it in the look. Similarly, Shoojit sir [Sircar, director] was happy when I wanted to have a lisp in Gulabo Sitabo. I make these mental notes and discuss them with my director. Fortunately, I have always had filmmakers who have appreciated what I bring to the table.”
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