Manoj Muntashir warns Anurag Kashyap over brahmin comment: “Don’t test our patience”

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You’ve put out a very passionate video in response to Anurag Kashyap’s shocking slur against the Brahmin community? I feel this man has crossed all limits of decency. Bhai Sahab, this arrogant and ignorant individual, who claims to be a filmmaker and social commentator, is completely out of his mind. He has clearly lost not just his sanity but also his creative spark. His frustration stems from his repeated failures, and he is in desperate need of counselling. Would he dare make such a comment about any other community? I challenge him to try. He would be ripped apart and left to rot. Hindus have always been benevolent and tolerant, and that grace has often come at the cost of their dignity. But let’s not forget—Durvasa and Parashuram were Brahmins too. Their rage is legendary. Do you think Kashyap has serious anger management issues? Don’t test our patience any further. The consequences won’t be pleasant. This man has long been the flag bearer of cinema laced with vulgarity in every...
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The Strays review – Netflix’s baity social thriller fizzles out

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The shadow of Get Out looms over Nathaniel Martello-White’s chiller about a light-skinned woman whose past unravels her manicured suburban life

There’s a heavy-handed ominousness from the first frame of The Strays, Netflix’s new entry into the stuffed category of social horror. Dissonant music plays over a concrete block apartment building in London, in which Cheryl (Ashley Madekwe), a light-skinned Black woman, appears in distress. There are bank statements crumpled on the counter, a headline blaring “Black kids betrayed by schools”, a mention of credit card debt in a phone call to her sister, a voice-cracking lament of wanting more. It’s the mid-2000s, and someone keeps calling Cheryl on her old brick phone before she walks out the door with a duffel bag and note about popping to the hairdresser, presumably on the run.

It’s an unsettling, propulsive start that provokes several promising questions – where is she going, why is she leaving, who is the sinister voice on the answering machine, the baselines of a thriller. Some get answered, but most do not, in any satisfying or specific way. British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.

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