The Taj Mahal has long been at the centre of controversy. PN Oak, in his book 'Taj Mahal: The True Story', claimed that the monument was originally a Hindu temple dedicated to Lord Shiva, called 'Tejo Mahalaya'. Historians have consistently rejected this theory, and the courts have also dismissed it as contrary to established history. Yet, maybe, for the first time, this dispute has been dramatised on the big screen.

Once upon a time, a ‘Chanakya’ created a ‘Chandragupta’. But what happens when, in today’s age, a teacher walks in Chanakya’s footsteps and creates not one but many ‘Chandraguptas’? And what if all these ‘Chandraguptas’ together become capable of running the entire system on their own terms? And then, what if one of these ‘Chandraguptas’ rebels and stands against his own ‘Chanakya’…? This entire web is woven in Prakash Jha’s new web series 'Sankalp'.

Is there any clear criterion that decides which films are released on OTT and which in theatres? If not, then releasing ‘Subedaar’ on OTT can only be called a mistake. Anil Kapoor, one of the producers, carries the entire film on his shoulders. Why then did he not take the risk of a theatrical release? Had he done so, audiences might not have disappointed him. In this film, watching him instantly brings back memories of Tezaab’s 'Munna'.

In India, a case of sexual violence against women is reported every 20 minutes. To remind viewers of this grim reality, the film ‘Assi’ flashes a red screen with the words ‘20 minutes’ at regular intervals, almost as if to shake the audience into remembering the context behind the story. Perhaps this would have been a more fitting ‘title’ for the film itself.

“Do Deewane Sahar Mein” Yes, it’s written correctly. The word is 'Sahar', not 'Shahar'. In Urdu, 'Sahar' means “morning”. But this “morning” has nothing to do with the film. Since the film’s hero pronounces “Sh” as “S,” the title also uses “S”. The heroine, however, doesn’t care whether her hero says “Sh” as “S” or even “Ph.” By the end of the film, she still isn’t “phure”, I mean "sure", about their relationship. Director Ravi Udyawar’s work also feels somewhat like that.

The ‘soul’ of Bollywood is returning to Hindi films, and it seems that what Hindi audiences have desperately been missing for at least the past two decades is now being served back to them. Be it music, explosive action, or unbelievable villains standing tall, far away from the real world. After several recent films, ‘O Romeo’ also proves this point.