In the Second RAAT AKELI HAI, the Genre Reaches its Saturation Point
The crimes are bigger and bloodier in Raat Akeli Hai: The Bansal Murders, and the motives even messier; but at its core, the film is a hollow reproduction of its genre predecessors, a familiar formula traced into an inferior product. By Karan Madhok
Welcome to ‘Nation of Auteurs’, a series composed of critical essays by academics, filmmakers, historians, and cinephiles, to examine the deep diversity of Indian film auteurs and illuminate the country’s wider cinematic landscape. By Ashish Dwivedi