... And sometimes, that's enough, says Sreehari Nair.
'I am a non-resident Indian. I didn't come to India to shine a light on its negative aspects.' 'I came to India to showcase what I think are remarkable aspects of India and Indians on a global scale.'
'We don't have that support system.' 'The last six years has gone into making Manto and raising Vihaan and it has been tough.'
'For him to suddenly leave the way that he did, it shattered me.' 'It took me a long, long, time to come to terms with it.' 'Because the loss of such a friend can destroy you.' 'The loss was and continues to be immense.'
Sukanya Verma looks at 2019's winners and washouts so far.
'I don't remember the last time I was this invested in the characters of a story since Doordarshan's golden age or early days of cable television boom,' applauds Sukanya Verma.
"You have an MBA from IIM-Ahmedabad. You worked in a bank in New York. What made you give up all that and pursue acting?" 'A little bit of courage and a lot of stupidity.'
Nandita Das on why she wants to make Manto so badly.
'I never thought an invisible character like Radhiya would get me that much visibility.'
'Despite its noble attempts, tight editing, terrific sound design, good performances and a compelling story, Hotel Mumbai tells a big lie.'
'I felt a constant gag in my throat, and emerged from the movie somewhat mugged,' confesses Sreehari Nair.
'Mulk gets a lot of things right, including its vision of the country as a place where underneath the punctilious, forced-secular surface there are volatilities waiting to go off,' says Sreehari Nair.
Aseem Chhabra watched some great films and some huge disappointments in 2020.
If Manto, the film, falls short of being a masterpiece it's because Nandita Das could not quite crack the Manto code: She couldn't quite see the wholeness of her subject with the same eyes that Manto saw his people. This imperfection in the film, in a way, becomes the greatest tribute to Manto, feels Sreehari Nair.
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