20th anniversary EXCLUSIVE: Madhur Bhandarkar says corporate booking, in a healthy manner, began with Corporate: "Half-day was declared in some offices; employees were encouraged to watch the film"; reveals, "Many people STOPPED consuming soft drinks after watching it!"

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Corporate (2006) completed 20 years on July 7 and it’s a film that Madhur Bhandarkar considers his favourite. Starring Bipasha Basu, Kay Kay Menon, Raj Babbar and Rajat Kapoor, the film was loved for its subject, shocking climax, performances, music, etc. Despite dealing with the complex worlds of corporate business and the stock market, the narrative was easy to understand, an aspect that was widely praised by audiences and critics alike. On Corporate’s 20th anniversary, Madhur Bhandarkar went down memory lane and shared fascinating trivia. You had made Page 3 (2005) and it was a sleeper-hit. What made you make a film on the corporate world at that stage? Corporate was a film which was ahead of its time. It was a very different world for me. I didn’t have a story. The title fascinated me and I decided to make Corporate, obviously based on the corporate world. I collaborated with writer Manoj Tyagi, who had written Satta (2003) and Page 3 with me. He was an MBA guy and had a lot of kn...
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The Future Tense review – film-makers’ complex reverie of English and Irish identities

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Semi-dramatised essay film by Joe Lawlor and Christine Molloy explores complicated national loyalties alongside those of an extraordinary rebel

The intriguing, complex movies of the married writer-directors Joe Lawlor and Christine Molloy have always been about imposture, concealment, double lives and alternative existences – particularly in what I think may be their masterpiece, the drama-thriller Rose Plays Julie. Now they have composed this fiercely personal essay movie about themselves and their family histories, loosely structured around the idea of a plane journey between London and Dublin. Lawlor and Molloy are shown separately narrating into microphones, and “interviewing” people filmed in separate locations, a conceit apparently imposed during lockdown.

It is a semi-dramatised reverie and revelation which exposes a painful new insight into their experiences as Irish expatriate artists in the UK; they are considering a return to Ireland now that post-Brexit England seems increasingly reactionary and xenophobic, while also being aware of the reactionary forces at work in Irish politics. They are also aware that their daughter, having been brought up in England, may not wish to join them. Have they also been concealing double lives as Irish people in England?

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