Filmmaker Anurag Kashyap’s upcoming thriller Dobaaraa, which stars Taapsee Pannu in the lead role, was on Tuesday confirmed as the opening night movie at the 2022 London Indian Film Festival (LIFF) on June 23, ahead of its Indian release on July 1.
Female filmmakers will be at the forefront of this year’s edition of the LIFF, including the European premiere of the Aparna Sen directorial The Rapist, starring Konkana Sen Sharma and Arjun Rampal.
“We have UK premiered a number of Anurag’s films over the last 12 years – including That Girl In Yellow Boots and Gangs of Wasseypur. Anurag delivers yet another fresh directorial approach and a compelling twisted story. Actor Taapsee Pannu steals the show as a young woman trapped between two lives in different decades,” said Festival Director Cary Rajinder Sawhney.
“We are also delighted at the exceptionally strong cavalcade of exciting new premieres at this year’s festival in 10 different languages and some very rare in-person talks headlined by India’s greatest woman filmmaker Aparna Sen,” added Sawhney.
This year’s LIFF, backed by Blue Orchid Hotels, Integrity International, the British Film Institute (BFI), Bagri Foundation and Arts Council of England, spans over a fortnight starting next month to screen a variety of films at cinemas across London as well as regionally in Manchester, Birmingham and Leeds.
“Dobaaraa being premiered at the London Film Festival right ahead of its theatrical release is a testament of its new-age, cutting edge narrative being wholly loved and applauded all over the world,” said Ektaa R Kapoor, the producer behind the opening night film. Dobaaraa is our first film under Cult Movies, our new film-division which is set to tell compelling, edgy and genre-bending stories. I feel ecstatic for Dobaaraa and its presence amidst various celebrated international films from around the globe and I can’t wait to showcase the film to Indian audiences on July 1, 2022,” she said.
Among the other UK premieres at this year’s film festival celebrating Indian and South Asian cinema include Pan Nalin’s homage to celluloid Chello Show and Anik Dutta’s Aparajito – a tribute to legendary director Satyajit Ray’s journey of making his first film, the cult classic Pather Panchali.
An intimate look at modern-day Kolkata, Once Upon a Time in Calcutta by Aditya Vikram Sengupta also features in the festival line-up. Set against a score by Oscar winner AR Rahman, who is also executive producer, No Land’s Man will be screened at the film gala as well. The acclaimed film is headlined by Nawazuddin Siddiqui who plays the role of a man dealing with the complexities of identity.
Under the festival’s Save the Planet strand, ecological and climate themes are explored in The Road to Kuthriyar, No Ground Beneath My Feet, and Hatibondhu. Canadian Indian documentary Superfan: The Nav Bhatia Story, set around the Toronto Raptors basketball team’s greatest fan, will close the festival. Following the London leg, which concludes on July 3, the LIFF will come to a close in Birmingham on July 5 and Manchester on July 6.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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