Thamma director Aditya Sarpotdar defends use of item songs: “They’re marketing assets, but my story unfolds through them”

Filmmaker Aditya Sarpotdar, who is currently basking in the success of his latest release Thamma, has addressed the ongoing criticism surrounding the film’s inclusion of three item songs — ‘Poison Baby’, ‘Tum Mere Na Huye’, and ‘Dilbar Ki Aankhon Ka’. The director, who earlier delivered the horror-comedy hit Munjya within the universe, responded to the debate in an interview with SCREEN, explaining his creative reasoning and how such songs play a functional role in modern storytelling and marketing. Reacting to the backlash, Sarpotdar stated, “All these things are marketing assets that lead you into a film. What counts is what the film gives you in the end. For me, when these songs appear, they’re there because my story unfolds through them.” The filmmaker emphasized that the tracks are not inserted merely for glamour but are woven into the narrative to enhance its rhythm and emotional beats. The discussion around Thamma’s music gained traction after audiences questioned the need for...

The Investigator review – harrowing documentary details search for justice after Balkan wars

Viktor Portel’s film follows Czech investigator Vladimír Dzuro as he returns to sites of torture and death, and meets survivors as well as supporters of perpetrators

Revisiting the blood-soaked conflicts that followed the breakup of Yugoslavia in 1991, Viktor Portel’s harrowing documentary follows Vladimír Dzuro, a Czech investigator committed to bringing war criminals to justice. Drawing from Dzuro’s bestselling book The Investigator: Demons of the Balkan War, the film primarily focuses on the atrocities committed by Serbian forces; as Dzuro returns to sites of torture and death, his encounters with the survivors as well as supporters of the perpetrators are at once riveting and heartbreaking.

The Vukovar massacre, one of the most infamous incidents of the war, is recounted in eye-opening detail. In 1991, in the final days of a battle between the Croatian National Guard and the Serb-controlled Yugoslav People’s Army (JNA) during the Croatian war of independence, the latter vetoed an agreement to evacuate the Vukovar hospital and turned it over to Serbian paramilitaries. In the end, nearly 300 people were executed in cold blood and dumped in mass graves. In 1996, Dzuro was a part of a mission to exhume the victims. Flickering archival footage of the campaign shows piles of bodies laid beneath the ground, a chilling visual manifestation of how history can be buried and erased. In contrast with the lo-fi quality of these newsreels, contemporary footage of Dzuro has the stylisation of a crime thriller. The look creates a gripping atmosphere, even if it also occasionally verges on overdramatisation, which the film’s already shocking true stories don’t necessarily need.

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