Cannes 2025: Neeraj Ghaywan's Homebound is a timely, trenchant testament to our times
Neeraj Ghaywan first came to Cannes in 2012, as part of a huge crew festooned with colourful gamchhas, for the premiere of the Anurag Kashyap's Gangs Of Wasseypur. In 2015, he was selected in Un Certain Regard for his debut feature, 'Masaan', which won the FIPRESCI prize. And now he's back in the same section with Homebound, a film as intensely personal, dealing with issues as crucial, or perhaps even more so in new India where the fissures between the privileged and the marginalised are deepening with every passing day. Starring Ishaan Khatter, Vishal Jethwa, Janhvi Kapoor and a strong supporting cast, the film has been produced by Dharma, with Martin Scorsese finding a very honourable mention on the credit list.
The genesis of the film tells us how current 'events' can become not just the superstructure of the film, but also part of its texture. In 2020, the New York Times published staff writer Basharat Peer's lengthy investigation pieced from a photograph which began being shared on social media platforms during an early Covid lockdown. No one knew who took the picture; without saying a word, it told a stark story: on a highway, there sat two young men, one cradling the other in his arms, trying to revive him.
It was a time when migrant workers were forced to walk thousands of miles to get to their homes, as their workplaces had shut down. As Peer followed the story of these two young men, one Dalit, the other Muslim, he found that they were Surat mill workers, sending their earnings home to a village in UP, the first to help build a 'pucca' house, and the other to fund an operation for his father, without which he had become unable to walk.
Ghaywan's concerns have never been hidden, right from his full-length feature Masaan to the short Juice, to a novella-length Geeli Pucchhi. He is clearly on the side of those who do no have power, and how those structures are skewed through accidents of birth and generational wealth.
Also Read | At Aranyer Din Ratri's Cannes' premiere, Sharmila Tagore says, 'I, Simi Garewal are the only survivors'
'Poora naam kya hai, beta? Chandan? Aage kya likhte ho? Kumar. (What is your full name, son?)' As soon as Chandan comes up with that little telling detail, the government official gets that knowing look. 'Sher ki khaal pehnene se suar sher nahi bann jaata. (Wearing a lion's skin cannot make a pig a lion).'
A post shared by Shubhra Gupta (@shubhragupta)
While Chandan no-surname Kumar can get by with hiding the details of his non-existent surname, Shoaib Ali has nothing to hide behind. His name is a dead giveaway, and in today's India, being Muslim, and dirt-poor deposits you on the margins of the already marginalised. His struggle to find gainful employment will find resonance in the countless instances where 'kaagaz' proving your identity, and consequently, fealty to the nation, have become the only way to get a foot into the door.
Homebound's buddy film elements are placed on the highly volatile intersection of caste, class and gender, with religion added to the mix. And though there's not much subtlety with which the film communicates its message, it is a timely, trenchant testament to our times.
Here's hoping it finds a release soon back home. Meanwhile, the premiere, attended by the cast and crew (with producers Karan Johan, Apoorva Mehta and Somen Mishra in their red carpet best) ended with a nine-minute standing ovation.
Could this mix of mainstream production muscle and arthouse sensibility be the beginning of a new innings for Indian cinema? Should we live in hope?
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
2 hours ago
- Time of India
Anurag Kashyap returns to screen as a fearless cop in 'Dacoit', recalls BTS moments with Abhishek Bachchan; shares a memory from 'Manmarziyaan'
Filmmaker Anurag Kashyap, the creative force behind cult classics like Gangs of Wasseypur, recently stirred nostalgia on social media by sharing an unseen behind-the-scenes photo featuring Abhishek Bachchan from the sets of Manmarziyaan. Taking to his Instagram Stories, Kashyap captioned the picture simply as 'memory from Manmarziyaan,' giving fans a heartfelt glimpse into the making of one of his most emotionally layered films. Manmarziyaan (2018), which starred Abhishek Bachchan, Taapsee Pannu, and Vicky Kaushal, was praised for its raw and realistic portrayal of modern-day love and complex relationships. Abhishek's understated performance as the calm, emotionally mature Robbie stood in poignant contrast to Vicky Kaushal's impulsive and chaotic DJ Sandz. The film's love triangle remains one of Kashyap's most nuanced storytelling feats. While reflecting on his filmmaking journey in a recent chat with Bollywood Hungama, Kashyap made a surprising revelation—he has five feature films that are yet to see the light of day. 'There are five feature films that are still not released. Out of which two films are going to be released; hopefully the third one also,' he shared. Calling himself 'the most unreleased filmmaker in the country,' Kashyap's candid admission highlights the many hurdles he has faced despite his reputation as one of Indian cinema's most daring voices. Take a look: But Anurag isn't just about the director's chair—he's equally comfortable in front of the camera. The Black Friday director has taken on a slew of acting roles over the years, ranging from cameos to full-fledged characters, many of which showcased his knack for portraying gritty, morally grey figures. His acting credits include appearances in No Smoking, Dev D, Gulaal, Soundtrack, Happy New Year, and I Am, along with significant roles in Akira, Imaikkaa Nodigal, Maharaja, and Bad Cop. Now, the multifaceted filmmaker-actor is set to return to the screen in a compelling new avatar with Dacoit: A Love Story, a pan-India action drama that pairs him with Adivi Sesh and Mrunal Thakur . Anurag will be seen playing a sharp, no-nonsense police inspector—a devoted Ayyappa follower and an unwavering crusader against corruption. Known for his biting wit and intellectual firepower, his character promises to bring a unique flavor to this high-octane narrative. With Dacoit already generating buzz for its powerful cast and gripping storyline, fans can expect yet another intense cinematic experience—this time with Anurag Kashyap not just behind the lens, but in the thick of the action. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Hindustan Times
3 hours ago
- Hindustan Times
Varun Grover and Swanand Kirkire: friends, colleagues and inspirations for each other
New Delhi, Friends, wordsmiths and masters in multiple aspects of cinema making, it is difficult to slot either Varun Grover or Swanand Kirkire in any one bracket. Grover is a lyricist, director, stand-up comedian and screenwriter. Kirkire is also a lyricist and screenwriter as well as being an accomplished actor and singer. The two have collaborated often and teamed up again for 'KISS', a short film Grover directed and Kirkire acted in. "We became friends and did a lot of things together. I sang a song in 'Masaan' which he wrote... When you know a person and know his potential, it doesn't mean this talent is concentrated only on one thing,' Kirkire told PTI. 'It is like a waterfall which needs different paths to flow through, sometimes as a lyric writer, sometimes as a comedian, poet and sometimes as a scriptwriter and ultimately as a director," he added on a poetic note. Kirkire said he was introduced to Grover by musician Sneha Khanwalkar and immediately recognised a "strong and flawless" voice when he heard the songs from "Gangs of Wasseypur". "We became friends and did a lot of things together. I sang a song in 'Masaan' which he wrote... When you know a person and know his potential, it doesn't mean that this talent is concentrated only on one thing.' Grover returns the compliment, describing Kirkire as a 'true inspiration for so many things he does and also for being a lovely friend'. He said Kirkire was the first person in the lyrics writing community to send him a message about the songs in 'Gangs of Wasseypur' in 2012. 'I was over the moon because this was the biggest award for me.' 'It showed me a generous soul, someone who really respected the craft and loved encouraging new talent. That was something that made me emotional that there is this person who I really look up to...,' he added. The celebrated artiste credits cinema for empowering his various creative endeavours. He made his feature directorial debut with 2023's critically acclaimed "All India Rank" but it was "KISS" that marked his beginning as a director. The short film is now streaming on MUBI India. "I like the ability to reach people in different ways as an artist and cinema gives you that immense power. I have always wanted to become a director, and this is where that journey began," he said. Grover said he had already locked the script for "All India Rank" but put it on hold due to the pandemic and instead focused on the short film just to understand whether or not he had the temperament of a director. "There is always a bit of self-doubt because I have mostly worked in isolation, locked in a room, but on a set, you have to deal with a large crew and many people. It was an incredibly enjoyable experience and gave me a chance to connect with a new kind of art form," he said. Starring Adarsh Gourav, Kirkire and Shubhrajyoti Barat, 'KISS' tells the story of a young filmmaker who gets in trouble with the censor committee members for a kiss in his movie. They debate on its length during a screening in an old theatre. Kirkire, who features as Salil Abid, a censor board member in the movie, said Grover approached him for the film during the pandemic and he instantly agreed. "There is absolutely no question of saying no to such a beautiful script," he told PTI. The movie blends sci-fi elements and drama to explore the worldview of its primary characters, who realise time is moving differently for each of them in the theatre and their childhood has something to do with it. Grover said he chose not to have a satirical tone for the movie. "I do a lot of stuff, which is very critical and kind of in the satirical zone. I make fun of things which are regressive, things which are anti the ideas of India we believe in. Making fun of the censor board and its working is really easy.' " I wanted to understand these people... I wanted to understand what drives this idea of censorship, and I thought it has something to do with the lives we all live. That was the origin point of this film." What connects Kirkire and Grover is not just their profession as lyricists and writers but also their love for cinema that began early. Kirkire said he doesn't even remember when he fell in love with movies. "I have loved cinema from a very young age... My mother played a big role in this. When I was in Indore, during my first year of college, I watched every single film that was released that year, literally all of them. "I had this habit of noting down the names of the actor, director, how much the ticket cost. I even saved the tickets and wrote how much I paid for them. That's how deeply I loved cinema. In Indore, where I studied, there used to be screenings of Indian Panorama cinema, and my mother allowed me to watch that festival," he said. The movie that inspired him to seek a career in cinema was "Teesri Kasam", which he saw on television. Grover also traces his love for movies to his childhood and a home where cinema viewing culture was very strong. "My father was a government servant working in the Military Engineering Service but he had a deep love for books, films, and music. Most of my childhood interactions were with film songs. We had a large collection of audio cassettes at home and played them all the time. There were no visuals, just sound so I had no idea what was happening in the songs, but I began imagining everything on my own," Grover recalled. The cassette covers didn't have photos but he would let his imagination fly. "I still remember when the cassette of 'Saajan' arrived. We had already seen one-two of its songs on Chitrahaar, but when the whole cassette came, I turned it into my own kind of meditation hour. Just by looking at the cassette cover, I tried to piece it all together: 'Okay, so Madhuri and Sanjay Dutt are in this film. And then in my mind, I would choreograph everything'.' He said he can't point to one film that influenced him but something shifted when middle of the road cinema started airing on Doordarshan in the late '80s and early '90s. When he was 13 he saw 'Ek Ruka Hua Faisla', set in a single with members of a jury arguing a case. "Watching that film deeply impacted me. And that's when I began to feel that cinema is magic. And if I ever get the chance in life, I want to be part of this magic," he said.
India.com
4 hours ago
- India.com
Chandan Arora on casting Rajpal Yadav as lead in Main Madhuri Dixit Banna Chahti Hoon: 'Audience connect…'
Chandan Arora, an ace director, is garnering all the headlines for his recent crime thriller release Kankhajura on SonyLiv. The series revolves around two brothers and their tangled relationship, which eventually turns sour. Headlined by Roshan Mathew and Mohit Raina, the series has been widely acclaimed. Kankhajura marks Chandan's second directorial project on OTT. He has previously delivered some masterpieces on big screens including Main Madhuri Dixit Banna Chahti Hoon, Main, Meri Patni Aur Woh, and Striker. His directorial debut Main Madhuri Dixit Banna Chahti Hoon stunned audiences when it featured Rajpal Yadav in the lead role—an unusual move at a time when Rajpal wasn't seen as a conventional hero in mainstream cinema. Talking about how Rajpal Yadav and Antara Mali were cast, Chandan revealed some interesting details in an exclusive interview with When asked about his thought process behind casting Rajpal Yadav in the lead during an era dominated by typical leading men, Chandan replied,'To be very honest, when I got a call from Ram Gopal Varma asking, 'Would you direct a film with Antara Mali and Rajpal Yadav?' I actually thought it was a hypothetical question—like, would you direct a film like that? He would do that. I said, 'Of course I would,' and then he told me to come to the office the next day and gave me a 13-page draft. He said, 'Read this and tell me what you think about it.' And so, I think I can take no credit at all for that bold move because it was all RGV. He was full of bold moves in those years. I mean, he was taking fantastic risks and exploring the kind of storytelling he wanted to be known for.' The Kankhajura director added,'But immediately after that, after the response Main Madhuri Dixit Banna Chahti Hoon got—especially Rajpal's character—I had to come to a conclusion myself that I truly believe people are interested in watching performers on screen. They can connect with a good performer, and they can connect with anyone—whether it is Rajpal Yadav or Shah Rukh Khan. I saw that with the film. But because the title Main Madhuri Dixit Banna Chahti Hoon had a commercial angle to it, I personally had to do another film with Rajpal where he was the lead, without backing off any commercial trope like Madhuri Dixit or the support of someone like RGV.' He concluded, 'I had a feeling that people wanted to watch great performers and they will applaud anyone who is a great performer and connects with them. And that's why we did Main, Meri Patni Aur Woh, and the success of it speaks for itself. The movie still resonates. So that sort of tells you how our audiences can surprise you anytime.' Apart from being a director, Chandan has also worked as an editor for various notable films including Cheeni Kum, Krrish 3, Ki & Ka, Pad Man, Mission Mangal, Chandigarh Kare Aashiqui, Ved, among others.
