Is Anurag Kashyap’s exit a wake-up call for Bollywood? Mahesh Bhatt, Viineet Kumar Siingh, Anjum Rizvi, Rahul Bhat and others weigh in – Exclusive |

The Indian movie trade, historically dominated by Bollywood, is witnessing a notable shift as filmmakers search inventive freedom past its typical boundaries. This development raises questions concerning the evolving dynamics of storytelling in Indian cinema.
Anurag Kashyap, a luminary in Indian cinema, has lengthy been celebrated for his unorthodox storytelling and willingness to problem cinematic norms. However, latest developments have seen Kashyap distancing himself from Bollywood, citing the trade’s growing prioritization of revenue over creativity. This departure not solely underscores Kashyap’s private convictions but in addition brings to mild broader considerations concerning the present state and future trajectory of Bollywood.
Anurag Kashyap’s Cinematic Journey
Kashyap’s filmography is a testomony to his dedication to genuine storytelling. His directorial ventures, resembling Gangs of Wasseypur, Dev.D, and Black Friday, have been lauded for their uncooked portrayal of societal points and advanced characters. These movies deviated from mainstream Bollywood formulation, providing audiences a recent perspective on Indian narratives.
However, Kashyap’s journey has not been devoid of challenges. His 2007 movie, No Smoking, confronted extreme criticism and was a business failure, highlighting the trade’s reluctance to embrace experimental cinema. The movie’s reception was a stark reminder of the dangers related to diverging from typical storytelling in Bollywood.
Sharing his expertise of working with the filmmaker, actor Rahul Bhat said, “Anurag Kashyap has a way of pushing actors beyond their comfort zones, sometimes even beyond what they think they’re capable of. Working with him is an exercise in trust—he creates an environment where you can take risks without fear. Watching his films, you see an uncompromising vision, a rawness that isn’t polished for commercial appeal but for truth. He brings out the unpredictability in performances, and that’s what makes his work so compelling.”

Writer-actor Viineet Kumar Siingh additionally added, “Working with Anurag Kashyap sir helps me grow as an actor, and the experience gives me a lot of freedom to improvise. Many things get improvised on the spot, allowing me to discover myself as an actor. He always gives me challenging characters, and to achieve them, I push myself, discovering new aspects of my craft. The experience of working with him is very special for any actor. Because of him, I got a chance to work in a film like Gangs of Wasseypur and gained recognition as an actor. So, the credit goes to him.”
A Stand Against Commercialization
Kashyap’s determination to step away from Bollywood stems from his frustration with the trade’s rising emphasis on business success on the expense of inventive expression. He has expressed discontent with producers who prioritize field workplace returns over unique and significant storytelling, main him to hunt a extra fulfilling setting in South India’s movie trade.
Speaking to The Hindu, he confirmed the transfer, saying, “I’ve left Mumbai. I want to stay away from film people. The industry has become too toxic. Everyone is chasing unrealistic targets, trying to make the next Rs 500 or Rs 800 crore film. The creative atmosphere is gone.”
Anurag Kashyap has reportedly moved to Bengaluru, citing Mumbai’s stifling tradition as a cause for his departure. He famous that many filmmakers have additionally left for Dubai, Portugal, London, Germany, and the US. Kashyap now feels lighter, more healthy, and centered, planning to direct Malayalam-Hindi and Tamil movies subsequent.
Mahesh Bhatt aptly describes the present state of Bollywood: “Cinema dies the moment it starts playing safe. And Bollywood today is suffocating under the weight of its own caution.” His phrases resonate deeply with Kashyap’s considerations, because the trade is now not pushed by intuition or storytelling ardour however by algorithms and engagement metrics.

Rahul Bhat additionally confronted equal strain at a level as an actor. He shared, “Every actor, at some point, faces moments where the industry’s commercial demands clash with personal artistic instincts. There are times when you feel like you have to fit into a certain mold, and that can be frustrating. But I’ve learned that navigating these restrictions is part of the journey—finding ways to inject honesty into even the most structured narratives. The key is to hold onto the work that reminds you why you started in the first place.”
However, Viineet shared, “No, I have never faced creative pressure or restrictions. The directors and producers I have worked with have always shared a beautiful relationship with me. This is evident in my career, as people have repeatedly collaborated with me. I have always received a lot of love from those I have worked with.”

Producer Anjum Rizvi shared, “Yes, the pressure is there, which is why independent producers are unable to work. But for how long? How many films can just a few corporations make in a vast market like India? We need to make more films, but the condition is quality—content and relatable stories. Abstract cinema might not work.”
He additional added, “As a producer, I would love to work with filmmakers like Kashyap despite all the pressures. Independent producers are always under pressure anyway.”

This sentiment is echoed by different filmmakers who’ve distanced themselves from Bollywood, opting for regional or unbiased cinema to discover numerous narratives with out business constraints. This development suggests a shift in storytelling norms, with creators gravitating in the direction of platforms that worth creative expression over formulaic content material.
Commercial pressures in Bollywood typically deter filmmakers from taking inventive dangers. The trade’s obsession with star energy and field workplace numbers can overshadow modern storytelling, resulting in formulaic productions. This setting has prompted some administrators to withstand mainstream traits, looking for avenues the place their inventive visions should not compromised.
Mahesh Bhatt additional critiques this shift, stating, “Bollywood has always been risk-averse. It has always feared failure and worshipped success. But the films that lasted, the ones that endured the desert of time, were never those that played it safe. They were the ones that broke away—that rejected formulas, that refused to conform.”
Rise of Regional and Indie Filmmaking in India
Regional cinemas, resembling these in South India, Marathi, and Bengali industries, have turn into havens for filmmakers looking for inventive freedom. These platforms permit administrators to experiment with numerous narratives and kinds, attracting audiences appreciative of genuine storytelling. The success of movies like Superboys of Malegaon, which follows Bollywood fanatics creating DIY spoofs, highlights the potential of unbiased filmmaking.
Finding Global Platforms
Indian filmmakers are more and more showcasing their work on world platforms, taking part in worldwide movie festivals and collaborations. Payal Kapadia’s All We Imagine as Light, which gained the Grand Prix on the Cannes Film Festival, exemplifies this development. Her movie blends documentary and fiction to painting the lives of hospital employees in Mumbai, reflecting the constraints confronted by girls in a patriarchal society.
The Toxicity in Bollywood: Nepotism, Power Struggles, and the Fight for Authentic Cinema
Bollywood has confronted criticism for practices like nepotism and energy struggles, which might hinder the emergence of recent expertise and genuine cinema. Filmmakers who problem these norms typically battle to interrupt by means of, regardless of essential acclaim. Addressing these systemic points is essential for fostering a extra inclusive and modern cinematic panorama.
As Mahesh Bhatt insightfully states, “So when Anurag Kashyap calls Bollywood ‘too toxic,’ he is mourning the death of that defiance. This isn’t just about commercialism—it’s about an industry that now prescribes conformity like a rule, that punishes unpredictability, that suffocates anything that doesn’t fit the model. It’s not just risk-averse. It’s risk-intolerant.”
These developments point out a transformative interval in Indian cinema, the place the hunt for inventive freedom is reshaping storytelling norms and increasing the horizons of filmmakers past conventional Bollywood confines.
The Path Forward
Kashyap’s transfer serves as a catalyst for introspection inside Bollywood. To retain visionary filmmakers and meet evolving viewers expectations, the trade could must steadiness business pursuits with inventive dangers, fostering an setting the place modern storytelling can thrive.
Mahesh Bhatt leaves Bollywood with an pressing warning: “So what defines success today? Numbers? Acclaim? Or the rare film that actually matters? Because in the end, cinema is not about surviving the weekend. It’s about surviving time.”
Bollywood has a alternative: stay trapped in the cycle of predictability or burn down the rulebook and begin once more. As Bhatt states, “True cinema does not seek preservation; it thrives on destruction and renewal. If the industry wants to breathe again, it must first turn to ashes. Only then can something real emerge.”

Bhat can be hopeful as he sees the trade shifting in the direction of content material-pushed area. He mentioned, “There’s definitely a shift happening. Audiences today are more open to nuanced, unconventional stories, and the rise of streaming platforms has given space for such narratives. But Bollywood will always have its commercial side—big spectacles, star-driven films—because that’s part of its DNA. The challenge is to strike a balance, to make films that are both engaging and meaningful. I think we’re at an interesting crossroads where both can coexist, and it’s up to filmmakers and actors to keep pushing boundaries.”
Viineet added, “I have noticed that a lot of content-driven films are being made, and people are appreciating them. Recently, if you look at ‘Laapataa Ladies’ and ’12th Fail’, these are both beautiful films. Now, I have a film, Superboys of Malegaon, and audiences are showing interest in such stories. One more thing is that filmmaking requires a lot of money, so I think it’s good to maintain a balance. I always believe that whenever we bring something new, the audience should be prepared to embrace it.”
Rizvi, alternatively, feels it’s a section that Bollywood goes by means of and it is going to finally move. He added, “Also, the most important thing is correction. Besides the content, budgets have to be controlled. Unwanted wastage has to be eradicated. As the cliché goes, films don’t fail—budgets fail.”
In conclusion, Anurag Kashyap’s departure from Bollywood highlights the tensions between artwork and commerce in Indian cinema. It prompts a reevaluation of trade values and practices, urging stakeholders to create a extra inclusive area for numerous narratives and experimental filmmaking.