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However, its charm lies in following the supporting characters who play her in-laws. Haseen Dillruba is played out as a pulpy crime thriller, whose lens is firmly trained on lead actress Taapsee Pannu playing Rani, a newly married woman trying to figure her place in her husband’s home. As far as queer representation in Hindi movies go, it would be great to see more movies in the future where queer characters can simply exist, and not require their identity to drive the plot.
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There are several issues to raise about Chandigarh Kare Aashiqui: Kapoor is a cis actor playing a trans character while the movie show some awareness of trans issues, there are also several cringeworthy moments serving stereotypical ideas about queer identity and, in the end, the movie uses Manvi’s story for Manu’s personal growth.
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This revelation has Manu go through a series of crises, while educating the audience about the challenges that Manvi has had to face. Except, Manvi is a trans woman, who has had sex reassignment surgery. Sparks fly, things get hot and heavy real fast. One day, Zumba instructor Manvi (Vaani Kapoor) saunters into his gym and life. Manu (Ayushmann Khurrana) is a beefed-up gym owner, with a bunch of gym rat friends and a meddlesome family. You could call Chandigarh Kare Aashiqui another one of those steps, despite the many problems it presents.
Hindi cinema is taking slow steps in creating narratives around the LGBTQ+ community, which can be seen as a step towards inclusion.
The sequel doesn’t quite match the original’s magic, although the younger Bunty and Babli pair (Siddhant Chaturvedi and Sharvari Wagh) show some sparkle. Turns out there is a new con artist duo in town, and they are threatening Bunty and Babli’s legacy. The two have been living a retired life, giving up their misadventures as scam artists. Saif Ali Khan replaces Bachchan as Bunty, but Mukherjee reprises her role as the original Babli. This sequel tries to recreate that magic. There was smart writing, lilting songs and genuine chemistry between Mukherjee and Bachchan that gave the movie a deft touch. When Bunty Aur Babli came out in 2005, there was a freshness in the pairing of Abhishek Bachchan and Rani Mukherjee, two A-list actors playing small-time con artists who go bigger with each fraud they manage to pull off. The result is touching in parts-however, the lack of dialogue also means there’s occasional overwrought acting. Ankahi is an interesting take on the well-worn narrative of a fraying marriage, using deafness as a plot and craft device. Sharma is brilliant as always and Hydari gets to add some nuance to the pretty paramour roles she’s known for. Their complicated relationship addresses issues of caste, class and sexuality with an assured hand.
Directed by Neeraj Ghaywan, a filmmaker who comes from a Dalit (formerly untouchable) background and has spoken about the lack of Dalit representation in Indian cinema, it tells the story of an evolving friendship between two women. The first one being the chapter starring Konkona Sen Sharma and Aditi Rao Hydari called Geeli Puchi. Here are our picks for the 10 best Bollywood movies of 2021:Īlthough there’s now a wariness about watching Netflix India anthology films because they prove to be a mixed bag, there are a few reasons to check Ajeeb Daastaans out. We narrowed down the best Bollywood movies of 2021. So 2021 still offered up a wide range of films to check out, at the theater or at home. Nevertheless, the trend of Hindi films releasing on streaming platforms isn’t going away.
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While the rest of the country had already opened theaters earlier in 2021, some at full capacity, Maharashtra allowed a half-capacity opening, noting the substantial decline in COVID spread across the country. After all, its capital city Mumbai is home to the Hindi film industry. It was only after the state government of Maharashtra announced the opening of cinema halls on Octothat theatrical release announcements for some of the most anticipated, big-budget Bollywood movies started to roll in one after another.
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