Karan Johar slams ‘herd mentality’ as he talks about Pushpa, Chhaava, Stree 2 success; addresses spy universe craze and asks, “How will I stand out if I copy?” - EXCLUSIVE

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Karan Johar is known for his candour, and in a recent conversation with Bollywood Hungama, the filmmaker once again shared some hard-hitting insights - this time on the current state of storytelling in the Hindi film industry. From genre fatigue to the obsession with cinematic universes, Johar didn’t hold back in expressing his views on why originality should be celebrated, not sidelined. “I think it's everybody grappling to do what others are doing. I think herd mentality. So, we see Pushpa running and catering so strongly to the tier two and tier three audiences. Suddenly there'll be 20 others wanting to do the same. You see Chhaava working, and everybody will want to make historical dramas! After Stree, everybody wants to make horror comedies. Those worked because they were individually strong, and there was no other option in that genre. And it was a unique thought that made those films work. We all have individual thoughts that are unique to ourselves,” Karan told Bollywo...
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Husband review – family-man study is Made in Chelsea meets Curb Your Enthusiasm

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Docu-comedy follows married directors Josh Appignanesi and Devorah Baum to New York in a subtle follow-up to The New Man

Film-maker Josh Appignanesi has in the past made successful movies: Song of Songs, in the high arthouse mode in 2005, and popular satire The Infidel in 2010. But co-directing with his wife, author and academic Devorah Baum, he has recently got in front of the camera and hit a rich new seam of autofictional or possibly autofactual docu-comedy. The New Man documented – or sneakily semi-fabricated – Appignanesi as the hyper-annoying expectant dad with madly dishevelled hair who is unable to help his pregnant partner in any practical way, and feels existentially undermined by the whole process.

Now Appignanesi and Baum are back: it is three years later and they have two children. Baum is going to New York on a prestigious signing/lecture tour to promote her book about feelings: Appignanesi is going along (and so are the kids, and a niece to look after them) to make a film about his own feelings on the matter. Baum thoughtfully paces the New York streets with Appignanesi capering beside her, jabberingly excited and yet weirdly and pre-emptively depressed about anything disappointing or bad that might happen in the future. To his wife’s exasperation, he is once again the massively unhelpful overgrown manchild.

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