Today, cinema is marked by fear, propaganda and a loss of truth: Anurag Kashyap

When filmmaker Anurag Kashyap sat down for an unfiltered fireside chat with writer and moderator Suman Kumar at the Bengaluru Art Weekend, what emerged was not a polished masterclass, but a candid, stark conversation on propaganda in cinema, creative frustration, and why Anurag has stepped away from directing — for now. Opening the discussion on propaganda in films today, Kashyap didn’t dismiss the debate, he reframed it. Excerpts from the conversation:

‘Caution culture has fundamentally altered filmmaking’
“If a film is propaganda, then the film opposing it is also counter-propaganda. Films that present facts as facts are simply not being made. The ones that hold a mirror are seen as too troubling,” he states. For him, the larger concern isn’t propaganda itself, but the disappearance of honest storytelling. “Today, when you write a script, the first person to read it isn’t the producer or actor — it’s a lawyer who flags what’s ‘problematic’. That culture of caution has fundamentally altered filmmaking,” he believes.

‘I would never cast myself’
Anurag Kashyap the actor, he admits, is very different from Anurag Kashyap the director. “Every time I act, I think, ‘What did I get myself into?’ The director in me would never cast me,” he says. So why take up acting roles? “I’m not making films right now — I need a source of income. Therefore, if someone I trust offers me something, I say yes,” he says simply.

‘I’ve put filmmaking on the back burner is because I’m unable to make honest films’
Today, Anurag points out, “Films are getting dumped, they are not even making it to OTT platforms. As a filmmaker, I find that there is no point. If you make a film only to watch it yourself at home, what’s the point?” For now, he’s choosing to step back. “The reason I’ve put filmmaking on the back burner is that I’m unable to make honest films. I’d rather write and be ready for a time when I can make films safely,” he says.

‘I want to make audiences uncomfortable’
Anurag’s cinema has often leaned into moral ambiguity — and he embraces that instinct. “I cannot write a character who is absolutely moral. There’s some degree of immorality in all of us. I like to make people uncomfortable, even if it’s just a little.” Reflecting on audience reactions to morally complex characters, he added: “If you feel sympathy for someone with no redeeming qualities, instead of judging them, judge yourself. That’s what art does — it makes you look inward,” he says.

‘Finish your writing before you judge it’
On writing, Anurag kept his advice simple and practical. “When you start writing, finish the script. Don’t read what you’ve written until you’re done. Overthinking is the biggest creative block. If you keep rereading, you’ll never finish. I still write with a pen and don’t revisit it until the end,” he says. He also cautioned against chasing market-friendly ideas. “A lot of people get stuck trying to find an idea that will ‘work’. If the need to make a film outweighs the need to be called a filmmaker, it becomes easier. I exorcise myself through writing,” he says.

‘Hunger drives everything in life’
Drawing from his own journey, Anurag’s advice to aspiring creators is, “It’s not difficult if you want to write, act, or make films. The real challenge lies in expectations. If you want to be a superstar, then timing, luck, networking — everything comes into play. But hunger is what drives you. When you’re hungry, you find food; it’s the same in any field.”

‘Animation in India is still boxed as children’s content’
Commenting on the lack of adult animation in India, Anurag states that it remains a major limitation. “The fact that we call it ‘cartoon’ automatically reduces it to children’s content.” He pointed out that even globally successful animation often fails to find theatrical space in India. “It travels the world but doesn’t release here. The next five years are going to be very dangerous for Indian animation. With AI entering the space, creative risks may shrink further,” he states.

‘The Kannada film industry is not in a very great state of affairs right now’
Anurag acknowledges both the breakthroughs and the struggles he sees in the Kannada industry. “It’s not a very great state of affairs out here,” he said, noting that while big hits emerge, smaller films continue to face funding and distribution challenges. “Projects get funded only if certain stars are attached,” he points out. This, he believes, impacts originality. “People start imitating success and lose their own voice,” he says. Yet, he remains hopeful about filmmakers who continue to stay true to their vision.



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