The latest Anurag Kashyap outburst is, in fact, a continuous frustration he harbors for the Hindi film industry, particularly Bollywood’s mainstream approach to commercial filmmaking. Here, his concern is more over the lack of innovation and the unwillingness of the industry to take risks at a time when Southern cinema like Pushpa: The Rise and Pushpa 2: The Rule was doing wonders at the box office. Kashyap further points out that while filmmakers in the South, particularly Sukumar, who directed Pushpa, are allowed the freedom and wherewithal to take creative risks, Hindi filmmakers seem more concerned with constructing interconnected cinematic “universes” and adhering to commercial formulas, which, in his view, stifle creativity.
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Kashyap’s attack on the studio system in Bollywood reinforces his argument. He argues that the industry has become more and more corporate-oriented, where the marketability factor is more important than artistic freedom. He also refers to films like Kennedy, a film that has won international accolades at the Cannes Film Festival but could not find a release in India, as the risk-averse and commercially oriented nature of the industry does not accommodate such films.
His comments about the egos of filmmakers who create universes can be seen as a jab directly at the sprawling superhero or franchise-driven narratives that have hogged Bollywood lately. He seems to be cautioning against over-self-inflation in the industry, with filmmakers being in charge of cinematic worlds but losing touch with original, grounded storytelling in the process.
In essence, Kashyap’s critique is about a disconnect between commercial aspirations and creative authenticity. By contrasting the South’s filmmaker-driven model with the corporate, risk-averse nature of Bollywood, he paints a picture of an industry that has become increasingly formulaic and insular, at the cost of bold, new ideas. His observations are probably reflective of his disappointments also, given his struggles with his film Kennedy, which was perhaps well-received at Cannes but for no meaningful release in India.
Kashyap’s perspective on the industry is sobering, especially considering the success of films such as Pushpa, which have achieved a global level of recognition through distinct storytelling and willingness to take risks. His words are a clarion call to the Hindi film industry to think again about their priorities and embrace the creative freedom that has succeeded in other parts of the country.
