EXCLUSIVE: Sumit Arora talks about writing dialogues for 120 Bahadur: "Farhan Akhtar is very thorough professional, sharp, witty"; reacts to Shah Rukh Khan's National Award win for Jawan: "He should have won long back…the National Award deserved him!"

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Sumit Arora has carved a niche for himself thanks to his solid writing in shows like The Family Man, Dahaad, Guns & Gulaabs and Citadel: Honey Bunny and in films like Stree (2018), ’83 (2021), Jawan (2023), Chandu Champion (2024) etc. November 21 was a significant day for him this year for he had 2 releases – the season 3 of The Family Man dropped on Amazon Prime Video while the Farhan Akhtar-starrer war drama 120 Bahadur arrived in cinemas. In an exclusive interview with Bollywood Hungama, Sumit Arora spoke about his dialogues in 120 Bahadur and a lot more. You had 2 releases in a single day. How was the experience and what did you do on November 21? I was at IFFI, Goa as we had screenings of The Family Man as well as 120 Bahadur. I was checking the reactions of both. The Family Man Season 3 was available digitally while 120 Bahadur had released in theatres. So, it was very interesting and also overwhelming to have two releases on two different mediums on the same day. The Family...
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The Surfer review – beach bum Nic Cage surfs a high tide of toxic masculinity

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An office drone must suffer the machismo of an Australian coastal town in this barmy, low-budget thriller about a would-be wave-chaser

Here is a gloriously demented B-movie thriller about a middle-aged man who wants to ride a big wave and the grinning local bullies who regard the beach as home soil. “Don’t live here, don’t surf here,” they shout at any luckless tourist who dares to visit picturesque Lunar Bay on Australia’s south-western coast, where the land is heavy with heat and colour. Tempers are fraying; it’s a hundred degrees in the shade. The picture crash-lands at the Cannes film festival like a wild-eyed, brawling drunk.

The middle-aged man is unnamed, so let’s call him Nic Cage. Lorcan Finnegan’s film, after all, is as much about Cage – his image, his career history, his acting pyrotechnics – as it is about surfing or the illusory concept of home. The Surfer sets the star up as a man on the edge – a sad-sack office drone who desperately wants to belong – and then shoves him unceremoniously clear over the cliff-edge. Before long, our hero is living out of his car in the parking lot near the dunes, drinking from puddles, foraging for food from bins, and scheming all the while to make his way down to the shore.

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