Tag: Indian Cinema

Kohrra Season 2: Review

Bombay Badshah · February 20, 2026 · 2 comments

Kohrra is a police procedural series set in Punjab whose second season is now available now on Netflix which I highly recommend.

Some relatively spoiler free thoughts. I am skipping plot details etc because I don’t want to spoil anything plus there are many reviews already available on the internet.

  • Indian directors/writers have really mastered this sort of police procedural – usually has two police partners and the story jumps between the case (new case per season) and the personal lives of the protagonists. Add in some social commentary as well in a gritty package. Others of this ilk are Pataal Lok (2 seasons, Amazon Prime) and Dahaad (1 season, Amazon Prime). Those are also highly recommended.
  • Because this is a new season, it’s a completely new case. Also only one of the officers from the first season returns. Watching the first season is not necessary but ideal to get an idea of the personal life of the returning character.
  • The plot this time is a lot more twisty with multiple threads leaving you guessing, compared to the first one where I guessed the plot a few episodes in.
  • Also a lot more technically accomplished. The few action set pieces are really well done. The cinematography is great and the acting is great across the board (the first season had some iffy acting by some actors).
  • Love the fact that like most Indian OTT shows, it is not monolingual (like movies) and is multilingual and characters speak in the language that they would actually speak. So predominantly Punjabi with a bit of Hindi.

Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

X.T.M · December 12, 2025 · 14 comments

We watched Dhurandhar last night at Apple Cinemas (the last time we went to see Ishaan Khatter’s Homebound). It is the best mass-market Bollywood film I’ve seen since Animal, and far more immersive. What struck me most was not the action, nor the plot, but Bollywood’s new formula: a full-scale fetishisation of Pakistan.

Kabir keeps claiming that Bollywood casts Pakistanis as villains. This misses the point. The villain is always the sexiest figure in any film. Bollywood has finally realised this. Raazi hinted at it. Animal stumbled on it with Bobby Deol’s star stealing turn. Dhurandhar perfects it.

For the first time, Hindu actors are not performing cartoon versions of Pakistan. They are cosplaying Pakistanis with forensic precision; the clothes, the diction, the swagger, the social codes. In earlier decades the attempt was clumsy. Now the calibration is exact. Pakistan, in these films, becomes the Wild West of the subcontinent: familiar enough to feel intimate, distant enough to feel dangerous. Continue reading Dhurandhar showcases Bollywood’s New Obsession: The Sexy Pakistani Villain

Homebound with Ishaan Khatter

X.T.M · September 29, 2025 · 148 comments

Last night Dr. Lalchand & I watched Homebound, India’s submission to the Oscars, at Apple Cinemas in Cambridge, Mass. This sad film follows a Dalit (Chandan Kumar) and a Muslim (Mohammed Shoaib Ali) struggling against the odds during the pandemic, their solidarity fictionalized as a fragile bridge across India’s deepest divides.

On the surface, it is a familiar story: the disenfranchised facing systemic barriers. But what struck me was how privilege itself performed disenfranchisement. Ishaan Khatter, brother to Shahid Kapoor, plays the marginalized Muslim. Janhvi Kapoor, descended from Bollywood royalty, embodies a Dalit woman. Vishal Jethwa, a bright-eyed Gujarati, portrays the Bhojpuri Dalit lead. This is not unique to India; Hollywood, too, casts elites as workers. Yet it raises the question: when poverty is performed rather than lived, is it “Dalit-washing”?

Poverty, Emotion, and Representation

Watching the film, I reflected on poverty’s emotional landscape. For elites, emotions can be expansive, indulgent, aestheticized into art. For the working poor, emotions are often constrained by survival — narrowed into necessity. Homebound tried to humanize its characters, but I wondered whether it romanticized what in practice is a relentless narrowing of possibility.

The West rewards this narrative. Parasite in Korea, Iranian cinema, Slumdog Millionaire — poverty & Global South tribulations as spectacle becomes “poverty porn.” The Guardian gave Homebound four stars. Great art often tilts melancholic, yes, but here the melancholia is curated for Western consumption.

Identity, Vectors, and Islamicate Selfhood

More unexpectedly, the film stirred something personal. I realized how much I have vacated my own Islamic identity. It was not traumatic. As a Bahá’í with Persian cultural roots, I found overlap — even comfort — in Hindu traditions. Dalits, in their rapid Hinduization, represent one vector of assimilation; Muslims and scheduled-caste Muslims, often in tension, another. Homebound imagines solidarity, but in life these vectors pull unequally. Continue reading Homebound with Ishaan Khatter

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