Imtiaz Ali’s Sejal sets off on a journey to achieve a socially acceptable level of fuckability and ultimately becomes an extremely worrying case of self-objectification.
No Imtiaz Ali film is complete without a train scene. In Love Aaj Kal, a separation unfolds on a train ride and in Jab We Met, a relationship blooms through the course of the journey. But the most iconic train scenes in Bollywood remain Simran running toward Raj in DDLJ and Rajesh Khanna crooning “Mere Sapno Ki Rani” as Sharmila Tagore gazes at him from a coach.
Socha Na Tha takes us back to the time when Imtiaz Ali was a filmmaker who was interested in saying something, not repeating it. The film is predictable to a fault, but its sweetness is devoid of any pretension or baggage, a throbbing flaw in Ali’s recent outings.
This was the year our rose-tinted memories of the glorious ’90s died. “Oonchi Hai Building” is permanently sullied by Varun Dhawan and we’ll never look at Govinda, Sridevi, and Sanjay Dutt the same way again.
The torturous 141 minutes of Imtiaz Ali’s Love Aaj Kal, starring a grating Sara Ali Khan and a scared Kartik Aaryan, plays out like a multiple choice question paper: Love or sex? Career or relationship? Uber driver or bike? Stalking or women's safety?
Imtiaz Ali’s Tamasha flipped the idea of doing what you love and following your heart, on its head. It showed me the terms and conditions attached to chasing my dreams – and laid bare the frustrations and failures that accompany trying to make your mark in the world.
You don’t need fancy equipment, hundreds of cameras, a huge crew, and big bucks to create good content anymore. All you need is OPPO Reno5 Pro 5G. Even director Imtiaz Ali swears by it.