Is Anurag Kashyap a wake-up call for Bollywood? Mahesh Bhatt, Vineet Kumar Sinning, Anjum Rizvi, Rahul Bhat and other weight in – Exclusive |

The Indian film industry, traditionally the dominance of Bollywood, is seeing a remarkable change as the filmmakers want creative freedom beyond their traditional boundaries. This trend raises questions about the increasing dynamics of storytelling in Indian cinema.
A bright Anurag Kashyap in Indian cinema has long been celebrated for his unconventional story tell and the desire to challenge the cinematic criteria. However, recent developments have seen Kashyap removing themselves from Bollywood, citing the increasing priority of industry gains on creativity. This departure not only underlines Kashyap’s personal beliefs, but also brings widespread concerns about Bollywood’s current situation and future trajectory.
Anurag Kashyap’s cinematic trip
Kashyap’s filmography is a will for his commitment to tell authentic story. His direction undertakings, such as Gangs of Vasipur, Dev. These films deviate from mainstream Bollywood sources, which gives the audience a new view on Indian narratives.
However, Kashyap’s journey has not been devoid of challenges. His 2007 film, No Smoking, faced serious criticism and had a commercial failure, highlighting the industry’s reluctance to embrace experimental cinema. The reception of the film was a reminder of the risks associated with the risks associated with the traditional story in Bollywood.
Sharing his experience of working with the filmmaker, actor Rahul Bhat said, “Anurag Kashyap has a way to push the actors beyond his comfort areas, sometimes those who think what they think. Working with them creates an environment where you can take risks without any fear. Performance, and that makes his work so competent.”

Writer-actor Wainet Kumar Sinning also said, “Working with Anurag Kashyap sir helps me develop into an actor, and experience gives me a lot of freedom to improve. Many things become impressive on the spot, allowing me to challenge myself as an actor. Gangs of Vasipur has been recognized as an actor and recognized as an actor.
A stand against commercialization
Kashyap’s decision to move away from Bollywood stems from the growing emphasis of the industry on the cost of creative expression. They have expressed dissatisfaction with producers who prioritize returns at the box office at the original and meaningful story stories, which makes them look for a more complete atmosphere in the film industry of South India.
Talking to The Hindu, he confirmed the move, saying, “I have left Mumbai. I want to stay away from the film people. The industry has become very toxic. Everyone is following unrealistic goals, trying to make a film of Rs 500 or Rs 800 crore. The creative atmosphere is gone. ,
Anurag Kashyap has allegedly moved to Bangalore, citing Mumbai’s Stench culture as a departure of Mumbai. He said that many filmmakers have also left for Dubai, Portugal, London, Germany and America. Kashyap now feels light, healthy and concentrated, planning to direct the next Malayalam-Hindi and Tamil films.
Mahesh Bhatt appropriately describes the current position of Bollywood: “Cinema dies when he starts playing safely. And Bollywood today is suffocating under the weight of its own caution. “His words echo deeply with Kashyap’s concerns, as the industry is now run by algorithms and engagement matrix, not with instinct or storytelling passion.

Rahul Bhat also faced equal pressure at one point as an actor. He shared, “Every actor, at some point, faces moments where the commercial demands of the industry confronts with personal artistic tendency. There are times when you feel that you have to fit a certain mold, and it can be disappointing. But I have learned to navigate these restrictions, you stop the way you work.
However, Vinenet shared, “No, I have never faced creative pressure or restrictions. The directors and manufacturers I have always shared with me.

Provision Anjum Rizvi Shared, “Yes, there is pressure, this is why independent producers are unable to work. But for how long? How many films can make only some corporations in a huge market like India? We need to make more films, but the situation is quality -romantic and reliable stories. Intangible cinema cannot work.”
He added, “As a producer, I would prefer to work with filmmakers like Kashyap despite all the pressures. Independent producers are always under pressure anyway.”

This feeling is echoed by other filmmakers, who have taken themselves away from Bollywood, who select regional or independent cinema to detect various narratives without commercial obstacles. This trend suggests a change in storytelling criteria, moving towards platforms with creators, which give importance to artistic expression on formula content.
Commercial pressure in Bollywood often prevent filmmakers from taking creative risks. The passion of the industry with star power and box office numbers can look after the innovative story tell, which can lead to formula productions. This environment has inspired some directors to oppose mainstream trends, looking for routes where their creative views are not compromised.
Mahesh Bhatt, more criticizing this innings, said, “Bollywood has always been at risk. It has always feared failure and success of worship. But the films that went on, people who used to bear the desert of time were never those who played it safely. They were the ones who had gone away – that the sources were rejected, which refused to conform. ,
The rise of regional and indie film production in India
Regional cinema, such as South India, Marathi and Bengali industries, have become a havan for filmmakers seeking creative freedom. These platforms allow directors to experiment with various narratives and styles, which appreciate the audience to tell authentic story. The success of films like Superboy of Malegaon, which follows Bollywood enthusiasts, sheds light on the ability to produce independent film.
Find a global platform
Indian filmmakers are participating in international film festivals and collaborations, showing their work on global platforms. Payal Kapadia’s All V Imagine Az Light, who won the Grand Prix at the Cannes Film Festival, gives an example of this trend. His film mixed with documentaries and imagination to portray the lives of hospital workers in Mumbai, which reflects the obstacles faced by women in a patriarchal society.
Poisoning in Bollywood: brother -in -law, power struggle, and fight for authentic cinema
Bollywood has faced criticism for practices such as brother -in -law and Shakti Sangharsh, which can obstruct fresh talent and emergence of authentic cinema. Filmmakers who challenge these criteria often struggle to break down despite significant appreciation. Addressing these systemic issues is important to promote a more inclusive and innovative cinematic landscape.
As Mahesh Bhatt has clearly stated, “So when Anurag Kashyap calls Bollywood ‘very toxic’, he is mourning that disregard. Is. “
These developments indicate a transformative period in Indian cinema, where the search story stories for creative Freedom are re -shaping and expanding the horizon of filmmakers beyond traditional Bollywood.
Way forward
Kashyap’s move acts as a catalyst for introspection within Bollywood. To maintain visionary filmmakers and meet the expectations of the audience, the industry may need to balance business interests with creative risks, promoting an environment where innovative story can be told.
Mahesh Bhatt left Bollywood with an important warning: “So what is success today? Number? Accclaim? Or a rare film that really matters? Because in the end, the cinema is not about survival in the weekend. It is about the living time. ,
Bollywood has an option: Stop in the cycle of prediction or burn the rules book and resume. As stated in Bhatt, “True cinema does not want protection; It thrives on destruction and renewal. If the industry wants to breathe again, it has to be converted into ashes first. Only then can some real emerge. ,

Bhat also hopes because he sees the industry moving towards the material. He said, “A change is definitely happening. Today, the audience is more open to unconventional stories, and the rise of streaming platforms has given a place for such narratives. But Bollywood will always have its own business side-Biggians, Star-Powers films—It is part of their DNA. And it is dependent on the filmmakers and actors that they continue to move forward.”
Viineet said, “I have seen that a lot of material-powered films are being made, and people are appreciating them. Whenever we bring something new, the audience should be ready to embrace it.”
On the other hand, Rizvi feels that this is a stage that is passing through Bollywood and it will eventually pass. He said, “In addition, the most important thing is improvement. In addition to the content, the budget has to be controlled. Unwanted wastage has to be erased. As the clutch goes, films do not fail – the crooks fail.”
Finally, Anurag Kashyap’s departure from Bollywood exposes tension between art and commerce in Indian cinema. This indicates the revaluation of the values ​​and practices of the industry, urging stakeholders to create more inclusive places for diverse narratives and experimental filmmaking.