Taboo film freedownload

Here's a trailer : https://youtu.be/HNtrUjUNkJw
The tape-recorded words "erase it" take on new weight in the context of history and war. After the U.N decided to partition Palestine into two separate independent Jewish and Arab states, and the state of Israel was established in 1948, local hostilities escalated to regional war and hundreds of Palestinian villages were depopulated in its aftermath. Israelis know this as the War of Independence. Palestinians call it "The Nakba" (the Catastrophe). In the late 1990s, graduate student Teddy Katz researched a large-scale massacre that had allegedly occurred in the village of Tantura in 1948. His work later came under attack and his reputation was ruined, but 140 hours of audio testimonies remain.
Director Alon Schwarz revisits former Israeli soldiers of the Alexandroni Brigade and confronts them with Teddy's recorded audiotape interviews as well as visiting former Palestinian residents of Tantura in an effort to re-examine what happened in the village and explore why "The Nakba" is taboo in Israeli society. The now elderly ex-soldiers recall unsettling acts of war while disquietly pausing at points they either don't want to remember or won't speak of. Audio from Katz's 20-year-old interviews cuts through the silence of self-preservation and exposes the ways in which power, silencing, and protected narratives can sculpt history. The film provides a rare look at Israeli society's first-generation and how the country's founding myth has shaped reality for generations. The film brings never before seen archival footage from the war of 1948 alongside intimate interviews with ex-Israeli soldiers, Palestinian residents, and historians.
There are also countless videos of IDF soldiers enjoying murdering babies and singing songs about it. It shows us how they like to murder people and enjoy doing it

This is my first post, as someone who's been exposed to lethal levels of kri content for years, here's my understanding of them. Detailed analysis, forgive me.
Akri - tries very hard to look nonchalant but is in fact very... Chalant. 😄 Cares a lot about how she comes across, makes it a point to put out an image of someone who's mindful and soulful. Might have realised too late that being pretty isn't going to cut it in today's media field with highly talented people, so tries to make it look like being a foodie and travelling are actual skills. Also being aesTHetic and organised. Lives for the "good girl " tag, from everyone . Puts in lots of effort and time into this. Kudos. As far from nonchalant as it can get. Will not ask for likes and shares in her vlogs like every other cheap vlogger (she does vlogging for fun and is in fact a film actor who deserves more film projects, as she'll tell you in every interview) , but will in fact give you a very meaningful advice, something that encourages you to be mindful about life. The nonchalance has gone way too far that it looks fake af when she tries to act excited about food, singing, dancing, etc. Takes grandparents for outings and vlogs about it, because how the fans drool over paasam for oldies. Preachy.
Dikri- deeply wounded middle child who didn't get a lot of validation growing up, probably the attention was hoarded by older sibling who proudly admits to disliking the younger one from day one. Might have tried to earn her family's love as a child, which should've been given unconditionally, but never measured up to the stds set by the older one, whose need for approval and admiration made for a sense of rivalry than feelings of siblinghood. Decided it wasn't worth it to try anymore, and turned into a rebel. Seeking validation from outside, falling for love bombing and a guy who'll praise her constantly, treat her like the main character and shower superficial compliments on skin color and beauty. Probably has low self esteem, having been contrasted against siblings who are more traditionally pretty. Will keep telling everyone she's pretty not realising how silly it sounds, because insecurities are loud. Posts for her mother's bday in the most impersonal way 'hbd mathaji' etc, acts rude with family in vlogs, bitter about the partiality and lack of attention given her as a child. Puts on hyper independence as an armour.
Ishkri- mentally checked out from the drama. Looks resigned and indifferent as a result. Seems like a nice person. Probably got a lot of validation from everyone growing up because how pretty can someone be! All the positive attention, halo effect probably helped her grow into that person who's actually low key, secure and content with herself.
Hakri- the pampered one, felt the effect of sibling rivalry the least among them owing to her young age, the older ones seem to want to be Hakris favorite, Akri especially going so far as to say it'd have been nice if it was just herself and the youngest as siblings, the bond would've been better. Seems to be closest to Ishkri, also very out of touch with reality thanks to being very privileged and cute. Comes across shallow but actually cares about being nice to others imho. Should've joined a college in another state away from..
Sikri: that parent who's extremely partial towards whichever child caters to her own needs the most. Openly tells the world who her favorites are, how she prefers travelling with one daughter for the expensive resorts they stay at etc. Probably feels like she could've married better and not for love, since she cannot stop telling everyone about her schooling in Ooty, childhood abroad and overall past glory. Realises her need for luxury through her kids, rewarding the one who affords the most luxury lifestyle for her. Immature. Never encouraged kids to pick up a book and read. Thereby limiting their sense of self to looks/money. Talking in English imo to rub in the fact, ooty educated formerly rich woman fallen to a life of normalcy. Favors the kids who are prettier and more successful. Lives in reflected glory.
Kriku: disdainful towards the wannabe attitude of his partner. Indifferent to the child who seems to pamper mamma just for cookie points and all the antics for attention and approval. Seems to sense the unfairness of parents picking favorites among their children, therefore chooses to hold Dikri close and tries to tell her she's valued. Except for the bjp thing, seems grounded and normal. Might not be very intelligent. But means well.
Tl;dr. Bad parenting resulting in rivalry among siblings. In a culture where toxic parenting is a taboo topic, a family of influencers who show us what not to do.
I wrote this because I know they love reddit as much as any of us. Also to say, people see through it all. All that said. Big fan. Grateful for the entertainment.
To Akri - it's OK to be human and flawed. Reading will enrich the mind and actually add substance. To Dikri - you've won at life, nothing as pretty as being humble.
Op suffers from acute joblessness, as you might have noticed. Not successful or pretty enough, sigh.😔

I am interested in your suggestions for films of Classical Hollywood cinema that are unconventional in one way or another and different from most other films of the time? They can be unconventional because they deal with taboo subjects (e.g. “The Children's Hour” and “Lolita”), are kind of experimental (e.g. “Lady in the Lake”) or slightly surreal (e.g. “Spellbound” and “Vertigo”).

I am interested in your suggestions for films of Classical Hollywood cinema that are unconventional in one way or another and different from most other films of the time? They can be unconventional because they deal with taboo subjects (e.g. “The Children's Hour” and “Lolita”), are kind of experimental (e.g. “Lady in the Lake”) or slightly surreal (e.g. “Spellbound” and “Vertigo”).

Hi! I just finished watching the 1999 film Girl, interrupted. At some point during the movie, when Winona Ryder was on screen, I felt an ache in my chest, got teary-eyed and thought "Oh my god, she looks devastatingly pretty." and now I don't know what to make of this.
For context: I'm a 21-year-old cis woman. My family is moderately conservative, I was raised christian, went to a catholic school, so sexuality was a taboo topic. At school I was The Fat Ugly Girl of the class and as a consequence I became a bit of an anxious shut-in; so no romantic relationships, no first kiss, nothing. I was made to believe that I was stupid for even thinking that was a possibility for me, and now the way I experience sexuality is completely fucked. I think I don't even know what being sexually attracted to someone is even supposed to feel like. I've had a few crushes on guys, but they came and went and if you asked me to describe the feeling of "liking" a guy I would not be able to. I have the feeling this is not a problem other people have.
So, in short, I'm very out-of-touch with my feelings and my sexuality. I don't know if I had that response to Winona Ryder because I found her pretty in a sapphic way, or just because I really, really wanted to look like her. She looks like everything I want for myself. I've always wanted short hair but couldn't have it because "long hair makes chubby faces look slimmer" and I've always thought I'd like my body more if I was thin, more gracile. So do I want slender girls with short hair or do I want to be a slender girl with short hair?
I know it sounds a bit stupid. I don't even know what I'm trying to ask. Any resources or advice that could help me figure this out are appreciated.

Spoilers ahead.
Connoisseurs of film are undoubtedly well-aware of La Nouvelle Vague, aka, the ‘New Wave’—an experimental movement in filmmaking with its origins in the French cinema of the 1950s, with an emphasis on exploration of personal themes such as existentialism, iconoclasm and absurdism. Although the ‘New Wave’ is considered to have met its chronological end in the late 1960s, to be followed by successive movements like ‘New Hollywood’, ‘Cinema Novo’ and ‘Dogme 95’, the influence of la nouvelle vague continues to be keenly felt in the artistic masterpieces of Bollywood production house YRF. Under the skillful hand of renowned auteur Aditya Chopra, the studio has produced a lineup of commercially successful arthouse flicks that continue the French filmmaking renaissance of the ‘50s, successfully infusing avant-garde storytelling techniques with high production values and modern Indian themes. Nowhere is this revolutionary vision more evident than in films like DDLJ (a masterpiece in abstract, absurdist storytelling), Mohabbatein (a sensitive examination of the taboo topic of attitudes towards adolescent self-gratification), Kal Ho Naa Ho (an ambitious adaptation of historian David McCullough’s book 1776), Jab Tak Hai Jaan (a religio-philosophical drama that engages in debate upon the tenets of Christianity, Shaivism, and the cultural taboo of Kala Pani) and, of course, the Dhoom franchise.
As YRF’s most popular franchise, the Dhoom series has, with each installment, made great independent strides in cinematic theory and practice. Although—as read above—YRF films explore a wide, varying range of topics as a whole, the Dhoom franchise focuses exclusively on the examination and discussion of economic and socio-economic matters of policy and practice in the Indian context. Over the course of 3 films, the discourse acquires a rich depth, with the analysis of issues including the economic costs and benefits of national highway construction, the clash between entrepreneurial aspirations and the security of bureaucratic employment, the 2008 economic recession in the BRICS context, and the causes and consequences of non-performing bank loans and a profiling of defaulters of on said loans. Indeed, a first course on Indian economics at any prestigious institution may well be framed around careful viewing and discussion of the Dhoom films. In the careful hands of Aditya Chopra and Vijay Krishna Acharya (Dhoom 1/2/3, Tashan, Thugs of Hindostan), each Dhoom film achieves a delicate balance between the overt cops-and-robbers heist story and the covert exploration of complex economic schools of thought.
As the 1st film in the franchise, Dhoom (2004) establishes the storytelling framework for the films to come, and by itself explores the challenges and opportunities presented by Indian economic policymaking in the early ‘00s. The film features an all-round star-studded cast, with support from Honorary Roadie & Stardust Awards nominee Esha Deol, Star’s Sabsey Award winner Rimi Sen, and Indian Telly Award nominee Arav Chowdharry. At the film’s helm are Lions Club Award winner John Abraham, Sansui Award winner Abhishek Bachchan, and Emmy nominee Uday Chopra. Series regulars Bachchan and Chopra play Jai and Ali respectively, Jai being a policeman and Ali a small-time mechanic with a penchant for fast bikes and disinterested women. Abraham essays the villainous role of Kabir, part-time restaurant waiter and part-time leader of a gang of biker thieves. The film begins with a series of daring heists pulled off by Kabir’s gang, relying on their high-speed bikes to orchestrate sudden thefts and promptly escape the scene soon after. Their exploits catch the eye of Jai, a lifetime appointee to the post of Assistant Commissioner of Police. Jai, however, finds himself out of his depth and through a series of accidents, makes the acquaintance of Ali, a mildly-seedy mechanic and bike racer. Initially reluctant to be associated with law enforcement, Ali is eventually induced to join Jai’s cause and attempt to chase down Kabir and his merry band of men. Dhoom is slow and deliberate in its setup, and the film’s early minutes are heavy on subtext and detail, therefore, it is essential to take in the plot in small increments, so as to be thorough with one’s analysis.
In an allegorical sense, Jai, as a police officer, represents bureaucratic authority and the security, comforts and powers of government employment. Abraham’s Kabir, as a thief, is a laissez-faire capitalist, relying on his material advantage in the form of fast bikes and his manpower advantage in the form of skilled bikers to partake in a series of one-sided transactions with economic entities such as banks and government funds. In this sense, the act of robbery in Dhoom is merely a transaction between two private parties wherein one side gains an unfair amount at the other’s expense, absent external interventionism. In addition to being a free-market advocate, Kabir is also an employee at a pizza parlour, which seems to be the film’s attempt at exploring both the growing role of the service economy as a share of India’s Gross Domestic Product (GDP), and the amorphous nature of employment within the modern ‘gig’ economy. Caught between the competing ideas of state-control and free capitalism, Chopra’s Ali is a stand-in for the directionless youth, lured by the safety and dignity of a government job, whilst simultaneously seduced by the potential for greater wealth presented by free-market capitalism. The film’s plot is overt in this depiction, with Ali simultaneously fearful of Jai’s authority, yet desirous of wielding said authority as an employed policeman. Furthermore, in an action sequence set in Mumbai’s Chor Bazaar—a flea market specializing in illegally-hawked goods—Jai and Ali get into a fight with goons in the market, and are forced to make a hasty escape after being outnumbered. Ali bringing Jai to the market illustrates his ties to the informal, underground economy—a large, undocumented component of the Indian economy—and Jai’s subsequent fleeing the scene highlights the failed outcome of government attempts to regulate this grey economy by force and bluster.
Initially at a loss for clues, Jai is eventually able to deduce that Kabir’s bikers arrange their heists in close proximity to highways, providing as the highways do quick getaways after. This is no doubt an allusion to the economic importance of the National Highways Authority of India’s flagship ‘Golden Quadrilateral’ national highway construction project. Kabir, the raw capitalist, is empowered in his capitalistic pursuits by the government’s infrastructure investments, and John Abraham’s moody expression throughout the film is in no small part perhaps due to the discontentment within Kabir’s mind about his enterprise’s dependence on resources provided by the state. Having deduced Kabir’s MO, Jai and Ali attempt to catch him in the act. However, Kabir and his gang appear to have substantially faster bikes than Jai and Ali, which is undoubtedly an allusion to the government’s perceived ineptitude and inability to generally compete with private enterprise. Left chafing and chasing the dust, Jai catches a lucky break when an overconfident Kabir offers him a clue about his upcoming crime, with the catch being that if Jai fails to avert it, he must recuse himself from the case and leave Kabir to his entrepreneurial pursuits. Kabir, the staunch capitalist, is here hinting at the idea of termination clauses in Public-Private Partnerships (PPPs), agreements between enterprises and governments for mutual benefit. Whilst the government naturally retains the right to sever the partnership at any point, Kabir clearly believes that he, as the private party, is also entitled to terminate the contract should the government, aka Jai, default on the agreed-upon terms. Formally known as the ‘Authority Default’ concept, Dhoom represents this idea in the form of a simple, easy to understand challenge between Jai and Kabir.
Even as this layered conflict plays out between Jai and Kabir, Ali is enamoured by the mysterious ‘Dilbara’ (Esha Deol). Little is known about Dilbara, however, like other characters in the film, it may be reasonably assumed than she is also an allegorical depiction of an economic concept. Ali’s infatuation with her suggests that she is perhaps intended to be portrayed as a vague, undefined avenue of aspirational employment. Furthermore, the fact that she (as is later revealed) is in fact a part of Kabir’s gang, yet also harbours feelings for Ali, leads one to conclude that Dilbara represents a form of compromise between dirigisme, aka restrictive state-controlled economy, and laissez-faire anarcho-capitalism. The filmmakers leave the specifics of this compromise vague, however, Dilbara’s skimpy outfits perhaps represent the scantiness of opportunities presented by this nebulous alternative.
Returning to the main plot, Jai, despite being forewarned, fails to foil Kabir’s next robbery, despite being able to take down one of his gang in the process. Left short of a gang member, Kabir attempts to recruit Ali, left sidelined by Jai following their failure to catch Kabir. The jilted Ali readily embraces Kabir’s neoliberal worldview and the duo jet off to Goa, where Kabir has his eyes set on one final score from a casino. Subtextually, the casino and gambling in general represent what is in Kabir’s eyes an essential component of his brand of capitalism—rampant speculation and volatility that may be manipulated to one’s benefit. There may also be an addition reference to British academic Susan Strange’s seminal 1986 work Casino Capitalism, a critique of unregulated banking and financial systems. However, Kabir is more likely than not to be derisive of such thoughts, and therefore, if this reference was intended, it may merely be made to indicate the filmmakers’ complete mastery over both Keynesian and Austrian schools of economic thought.
The importance of dance numbers in YRF films cannot be overstated. Even as Bollywood music gravitates towards being little more than catchy jingles designed to elicit maximum publicity, the music and dance numbers in YRF films complement the plot perfectly, serving to both entertain and narrate. Dhoom is no exception to this tradition of excellence. On the eve of Kabir’s final heist, an inebriated Jai shows up at the casino, claiming to have left police employment and moved on. Kabir, however, is rightly suspicious, given as Jai is still a cop, and is merely attempting to lure Kabir into a false sense of comfort as a prelude to catching him in the act. This Jai accomplishes by putting on a song-and-dance in front of Kabir to convince him of his abandonment of state-sponsored socialism and his embrace of Kabir’s unrestrained capitalism. The song is entitled ‘Salamee’, a clever homophone of ‘salami’, a sausage that consists primary of beef. The consumption of beef was, in a landmark 2005 Supreme Court judgement, forbidden on grounds on anti cow-slaughter laws. Kabir, as an opponent of government intervention, would likely have been opposed to the idea of such a restriction being imposed upon him. Therefore, to show his solidarity to the cause, Jai takes to the stage in front of Kabir and sways to the refrain of “Naye kal ko aao kare, hum karein, karein/Salami, salami, salami/Kar le salami…”.
The subterfuge is apparently successful, and a placated Kabir is lulled into a false sense of security by Jai’s reinforcement of his worldview. However, as mentioned, Jai’s conversion is little more than a ruse, and a hoodwinked Kabir is successfully caught in the act by Jai and Ali, who is revealed to have been Jai’s mole all along. The ever-slippery Kabir, however, weasels his way out of Jai’s clutches, and flees with his loot. Although Dhoom 3 would better address the phenomenon of loan defaulters taking flight from the verge of captivity, Dhoom too takes a cursory look at the occurrence, although Kabir does not quite embody a loan defaulter. He is merely the free-market capitalist, the robber baron caught flouting regulations and fleeing from the consequences of government intervention. A long chase sequence ensues, with Kabir fleeing but ultimately cornered by Jai and Ali at the precipice of a sea-facing cliff. Facing a choice between certain captivity and death, Kabir chooses to fly off the cliff with the last of his loot. In a literal sense, Kabir merely dies by falling off the cliff into the sea. In a figurative sense, faced with the prospect of his enterprise being forced to comply with ungainly regulations, Kabir chooses instead to offshore his business, and make for better waters, thus bringing his character arc to a natural and satisfying conclusion. A frustrated Jai bemoans his end, representing the government’s exasperation at ultimately failing to bring a rogue enterprise to heel. Ali, having seen his capitalistic expectations dive off a cliff with Kabir, chooses in the film’s final shot, to finally pursue the path to safe, steady, state-sponsored employment after all, asking Jai if he finally is a bona-fide police officer, as the film fades to black.
The topical nature of Dhoom is a cause for admiration, even a decade and a half after its release. The film successfully ties together strands of economic and socio-economic thought from its time—the ‘Golden Quadrilateral’ project received a major fillip in the first years of the new millennium, the service sector encountered a boom around the same time, as did the contribution of outsourcing to employment and economic growth. The rise of men like Kabir is perfectly timed in the post-License Raj years, as the country embraced capitalism over state socialism. Yet, the lure of stable, ‘safe’ government employment holds true, and powers men like Jai and seduces men like Ali. Dilbara’s unknown fate at the end of the film—left waiting for Ali by the side of a road—is representative of the uncertain outcomes of economic models with time. On a meta note, the Dhoom franchise’s casting of Abhishek Bachchan and Uday Chopra in every film is a nod to the ‘Mahatma Gandhi National Rural Employment Guarantee Act’ of 2005, a flagship government initiative that guarantees employment for a certain number of days out of the year, in the form of unskilled labour.
In summation, Dhoom rightly deserves its place as a seminal film in the annals of both YRF and Indian cinema. In its own right, it is a bold, experimental film that marries erudition to entertainment. It is also the progenitor of its celebrated franchise, providing the springboard from which future films would explore similar issues in an equally deft and precise fashion. To YRF, the Dhoom franchise, and Indian cinema, the film Dhoom is nothing short of a bottle of nitrous oxide, that when attached to a bike, propels it into the stratosphere.

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Has anyone else seen "Hot Spot"(2024) by Vignesh Karthick? I watched the trailer on YouTube and it definitely left a strong impression. It definitely left me wondering about the film's content. Now, I'm not easily shocked, but the backlash the trailer got was intense! The media hammered the director for the concept and the trailer itself, not even giving him a chance to explain his choices. That being said, I just watched the movie on OTT and wow, it's completely different from the trailer.
It's actually an anthology film with four unique stories, all with open endings. The director cleverly lets the audience with the moral complexities of each situation and decide for themselves what's right and wrong. Honestly, I didn't find anything offensive nor taboo in the film itself. In fact, there were some really funny moments and even some, "Moye Moye" 😂 kind of scenes!
Based on interviews with the cast and crew, you could tell the director was really bummed about the whole thing. In one press meet, he even said something about being worried people wouldn't see the film because of the trailer. He kind of jokingly(Seriously) pleaded with people to come to the theaters, saying they might even throw a slipper at him if they didn't like it! Looking at the box office results, it seems the movie didn't do well in theaters. That's a shame – the cast and crew deserve some recognition, at least now that it's on streaming.
Here's the thing: If they'd made a more straightforward trailer, it would have spoiled the twists and the reasons why these stories are being told in the first place. Perhaps that's why the director kept emphasizing the importance of watching the film before forming an opinion.
I definitely feel like I missed out by not seeing it in theaters and supporting the film.
Anyone else have thoughts on "Hot Spot"?

Spoilers ahead.
24 years after the release of DDLJ—a masterpiece of experimental cinema that pretends to be a romantic drama whilst hiding its true nature as an absurdist mystery—trailblazing production house YRF has yet again pushed the envelope with War (2019). Following a long interlude of 5 years, director Siddharth Anand returns to his craft with a work of art whose theme appears to be in line with the title of his preceding movie Bang Bang, although War eschews crude, overt storytelling and instead opts for a subtle approach to its subject. Much in the same vein as DDLJ, War pays lip service to its apparent, stated genre (an action thriller), whilst hiding within itself an entirely different story, one left hidden in plain sight, and told with clever sleight of hand. While DDLJ uses a run-of-the-mill romantic drama tale to actually narrate a bizarre, formless, perhaps even unsolvable mystery story, War examines the themes of homosexual desire in the individual and societal context, using an action/spy story as a cinematic cover.
Although War boasts of an impressive cast including Ashutosh Rana, Arif Zakaria, Dipannita Sharma and Zee Cine Award winner Vaani Kapoor, the film is squarely centered in on its star-crossed lovers Kabir (Hrithik Roshan, beefcake with salt-and-pepper liberally sprinkled on) and Khalid (Tiger Shroff, wore white pants to a gunfight). The overt plot is a generic spy flick, with Roshan’s Kabir having gone rogue, and Shroff’s Khalid tasked with bringing him in whilst uncovering his secret. The theme of secrecy—integral to thrillers and spy flicks—here serves a dual purpose. Overtly, it is an essential component of any action thriller, but it also covertly represents the taboo nature of the relationship between the film’s leads. In this context, Shroff’s character Khalid is perhaps a stand-in for the film’s viewer, and his journey over the course of the film to unravel Kabir’s secret mirrors the viewer’s journey of realization of the true secret at the heart of the film—the theme of the love that dare not speak its name.
War adapts a loose chronology, flitting between events in the past and present day. Integral to any intense romance is the first meeting of the leads, and War is generous in revealing this with its flashbacks. The chemistry between Kabir and Khalid is evident from the get-go, with Kabir making a dramatic, diva entrance disembarking off a chopper and Khalid unable to peel his eyes off him. Tiger Shroff is careful with his expressions in the all-important passionate glaring scenes, with his lips just the right amount of slightly parted and his flirtatious smile ever so slight. Hrithik Roshan is channeling a moody, sullen vibe, the Edward to Khalid’s Bella. The stand-off between the two is carefully designed to elicit a consistent ramp-up in sexual tension. Khalid’s hopeful doe eyes contrast with Kabir’s hard glares, and it is clear that the film uses these minutiae to not only display the characters’ different approaches to expressing their latent desires, but also to establish a teacher-student dynamic between the leads. Kabir is the grizzled veteran, and Khalid the enthusiastic young charge eager to enter into his mentorship. The filmmakers’ scholarly nod to the roles of the erastes and the eromenos in Ancient Greek socio-sexual discourse is clearly visible here.
Additionally, Kabir’s initial rejection of Khalid on grounds of mistrust and past betrayal by Khalid’s father may be interpreted as Kabir’s hesitation to enter into an intimate, passionate relationship for fear of re-experiencing past heartache. The question of whether Khalid’s father actually exists or is a personification of society’s response to homosexuality is a plausible one. Certainly, it being the latter would also give new meaning to flashbacks that show Khalid being beaten by his schoolmates for his father’s betrayal, meaning that those scenes instead perhaps are a metaphorical expression of social stigmatization and violence at the hands of one’s fellow peers for perceived homosexuality, sadly not a phenomenon uncommon amongst adolescents.
Although War is replete with such careful, fine details, it is also occasionally obvious and upfront with its theme. The best example of this is the dance number Jai Jai Shivshankar. The Bollywood dance number has evolved over the ages to grow from storytelling tool to autotuned marketing schpiel, but War revitalizes this old cinematic element. As Kabir and Khalid take the center stage, colours of the Pride rainbow generously splatter all over the scene as Kabir sings “...Aaj haq se/Duniya ko bhool ke/Jitne hain kaayde/Woh saare tod do…”. Although these moments are a break from the film’s otherwise secretive treatment of its subject, the very boldness of the song is perhaps an allusion to love’s ability to camouflage itself and exist openly whilst still remaining hidden. Jai Jai Shivshankar is based entirely around Khalid and Kabir, in the fashion of the typical dance number featuring the hero and the heroine.
Returning to the overarching plot, the 2nd half of the film features thespian Vaani Kapoor as Naina, Kabir’s purported love interest but unbeknownst even to her, secretly his ‘civilian asset’. It is likely that this is an allegorical representation of the stereotype of a gay man entering into a heterosexual relationship with an unwitting woman, primarily to conceal his desires and embrace a semblance of normalcy in society’s eyes, although the film justifies Kabir’s disinterest in her as a sign of his sense of duty to the nation. Naina’s little daughter also plays a semi-prominent role in the film, with Kabir acting as her de-facto guardian following Naina’s death. In a particularly stirring scene that involves Khalid meeting with Kabir as he celebrates Christmas with Naina’s daughter, the joys of fatherhood and the possibility of a homosexual couple starting a family together are explored. In continuing with the film’s exploration of family life, another standout moment from the 2nd half involves Khalid and Kabir deciding to attend together the wedding of a colleague (Anupriya Goenka as Aditi). Aditi’s surprise at watching the two walk in together, Khalid’s wide, bashful grin, Kabir’s suggestive wink, and Aditi’s gradual smile of realization are overt enough for even the casual watcher to notice. If that does not suffice, there is also Aditi’s later offer to elope with Kabir, which prompts Khalid to tell her to, quote, “Get in line”. One might be surprised at the film’s sudden boldness, which continues as the two lovebirds sail down a river somewhere in Kerala on a luxurious houseboat, the sort that prominently feature in honeymoon packages.
The use of phallic imagery in film, often to bypass censorship, is not all that uncommon. For its climactic sequences, War adopts one of the most common examples of such imagery: a missile. There’s a rogue missile launch that Kabir must subvert, and in the process confront Khalid for a final time. The missile is successfully redirected by Kabir, and explodes the very ship he’s on, somewhere in the snowy Arctic. The imagery of a phallic-shaped object exploding, followed by an action sequence set within a swirling, voluminous mass of some white material is certainly suggestive, but at no point tasteless or crass.
The climax of the film is set at the location that is an ode to romantic storytelling: the church. As Mark Twain once wrote, when writing a story about an adolescent, one ends the story at adulthood, and when writing a story about an adult, one ends the story at marriage. The church as a location is emblematic of the final struggle in Kabir and Khalid’s relationship: the ultimate test of commitment. The destruction of the church as they exchange blows is symbolic of the collapse of the institution of marriage in the face of mutual acrimony. Khalid’s eagerness to rip off his shirt mid-fight is perhaps an attempt at seduction, to maybe stave off the promise of long-term commitment with immediate gratification, but Kabir’s refusal to give in and leave Khalid trapped in the collapsing church represents the foolishness of attempting to patch up a failing relationship built on duplicity and lies, being as Khalid is an impostor actually named Saurabh.
In conclusion, War is an extraordinary cinematic achievement. The above analysis attempts to merely scratch the surface. The cognoscenti no doubt wait with bated breaths for YRF and director Siddharth Anand’s next masterpiece, reportedly named Rambo, that will hopefully further explore themes of humanity, self-identity, commitment, and highly advanced plastic surgery.

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I've tried to post this theory so many times. This theory was made before the spoilers. It was made before the Kendrick Lamar and drake beef. Please excuse my grammar I wrote this theory several times changing many things and going back into the draft to add many ideas. I added one detail then realized if I kept adding stuff I'd have to write a fanfic at this point. The theory isn't about getting it right It's about the romance that breeds curiosity and new concepts that will hopefully be explained later. Thank you.
I think the sea devil was the creator of devil fruits and they were in the ancient kingdom. The ancient kingdom was evil they created the ancient weapons but could only use Uranus. The species like: Fishmen, Lunarians, Buccaneers, Giants, Winged Human, Giant Elephants, and Etc were used by the ancient kingdom to oppress the 20 Kingdoms. Pirates of the one-piece world were established from ancient or recent history just like in our world, so the oppressed people in the 20 kingdoms became like pirates. Not all became pirates just some, but that impressed Joy boy or Nika because Nika is his actual name or maybe it's Binks? Anyways Binks or Nika wanted to venture out to the seas to join the pirates and the kingdoms, but the ancient kingdom were like the celestial dragons so once you leave the noble status behind you can't rejoin. As punishment for him leaving they turned him into rubber believing it was a cruel joke and a good punishment for him, but it impowered him. He began to play jokes on the ancient kingdom his antics reached the lives of many around the world.
His power transformed islands just like long ring long land, he freed the oppressed, and he told the secrets of the ancient kingdom to the people because without his influence they would have stayed a non-advanced kingdom so they could compete with the ancient kingdom somewhat. Haki was introduced to people's lives, and it gave them power to believe in themselves to change the world and become free from tyranny in a world that these "Humans" Could live in. They became stronger and their numbers were Colossal, but something began to change, something that the ancient kingdom could never account for. The same "Creatures" the ancient kingdom used to oppress the people began to want a will of their own. Joy Boy introduced this to them, and that changed Everything. Zuniesha, The Giants, The Mink Tribe, The Lunarians, and Etc began to turn on the ancient kingdom. The Invincible Enormous Brilliant Ancient Kingdom was losing a war that a rejected joke of a rubbery man started then turned the tides against them using laughter, hope, love, and will for a better tomorrow. The ancient kingdom began using the weapons but wait one of the weapons didn't respond. Poseidon now had a will of their own and they wanted to be free, so they helped Joy Boy, but the ancient kingdom still had Pluton, and Uranus. The weapons were a real problem Joy Boy had to think fast so he had a certain clan build the Ark for not just humans, but for all the species that don't survive underwater like the fishmen. Joy Boy told his comrades about the weapons and that helped them identify the weapons. During the war one clan was so wreck less they managed to pull off a huge heist. The Kozuki Clan managed to steal Pluton before it could cause huge damage to the world, they took it off the battlefield and returned to the allied kingdoms.
Uranus was used during the war and was a death sentence to unsuspecting parts of world it decimated continents leaving remnants behind. With only one of the ancient weapons in use Joy Boy and his allies had to confront the person using it, and that was the SEA DEVIL. Joy Boy and Saint Nerona Imu confronted the Sea Devil, but something was off about him. It seemed like he was different from regular humans it looked like he hasn't slept in a long time, and his body appeared weird. The Sea Devil took damage from both combatants, and even though it damaged the sea devil they kept fighting until it was revealed that it was the Sea Devil that gave Binks or Nika the Rubbery powers. The Sea Devil began using their Powers. The two barely beat the Sea Devil through their own will they managed to defeat The Sea Devil, but The Sea Devil had a plan. If the ancient kingdom were to ever fall, they would rather sink into the bottom of ocean selfishly keeping their treasure than to give it to the rest of world and with that The Sea Devil began to use Uranus to destroy the ancient kingdom. With that Joy Boy and Saint Nerona Imu escaped and the Sea Devil was cast to the bottom of the ocean selfishly keeping their treasure. Parts of ancient kingdom was cast to the depths of the ocean, but some parts of it floated above still. The war was over, and people had to do some Greving. After the war Nika or Binks was exhausted forever from that war. Nika or Binks had been given the name Joy Boy, and he was recognized across the world. In light of the tragedy that occurred Joy Boy proposed something. He said, "LETS THROW A PARTY!" His allies rejoiced and they had fun. The species that the ancient kingdom created had nowhere to go and now had a will of their own. They came to Joy Boy and wanted to know what to do, and Joy Boy said do what you want.
The Created Species began to occupy different islands, and they created their own kingdoms, and cultures, but they had the knowledge of the ancient kingdom with them still. The 20 Kingdoms didn't realize that Joy Boy had supported the created species in the past so that fueled their anger. The 20 Kingdoms history with the ancient kingdom was embarrassing, and now the one man that gave them hope is the same man who helped the creatures. The same creatures that oppressed them? The kingdoms began to plot a plan against Joy Boy and all that oppressed them. The kingdoms found that there was a castle was found in the middle of the ocean a massive castle. They began to go inside, and they learned that it was from the ancient kingdom. The castle held untold knowledge, but the text was unreadable to them. They enlisted the help of ancient kingdom remnants, and the kingdoms learned the language. They learned some of their technology, about the history of the world, the creation of the species, the Eve tree, and some taboo methods, and etc. Most of all they learned that there was a devil fruit index containing information of all devil fruits and their functions, also they learned that devil fruits recycle after the user dies, but they also learn the weakness of it. The information is handed down to Imu. The Kozuki Clan learns the language, and the information inside the castle. They also learn about the ancient weapons, and how to use them. The 20 Kingdoms began to use the Castle as their place of importance, then they began to have a discussion on how they're going to betray Binks this includes Lily and the Kozuki clan members. The idea of becoming a world government is introduced and they plan to go along with it, but Binks is all that stands in the way. Lili sneaks away with the information, and contacts Binks and his crew to tell them about the betrayal. Binks unafraid challenges the world to a fight. Binks and his crew go around the world adventuring and meets new people and establishes a bond with people as well, one of those is Poseidon. Binks and his crew are welcomed in Poseidon's kingdom. Binks explores the kingdom. Binks meets a woman who can fortune tell like madam Sharley. He's amazed so he asked her about the future, and she says in 800 you'll return. He laughs and thanks her. Poseidon and Binks talk as he tells Poseidon that he's going to be betrayed, but he promises that he'll win, and when Poseidon comes up to see the sun it'll be Binks and his crew welcoming them. During or after this period in time the 20 Kingdoms have the first reverie before they become the world government. At the Reverie Imu goes into detail about how they are going to defeat Binks, and that is with Uranus.
Imu wants to cleanse the earth of their history and those who oppressed them, but some of the kingdom reject the idea not because of good morale value, but because they can be used. Imu hears them out and allows them that usage. Lili is present there also, and she's scared because Uranus caused huge problems to the world like making the sea level rise, not only that but, although the ancient kingdom oppressed them, she doesn't want to destroy all of the created species. A specific sea monster cat she and her kingdom has taken a liking to. So, she sneaks away once again, and tells Binks what is about to happen. Binks is horrified that Imu would use Uranus after what they saw the ancient kingdom do. He then thinks that The Noah needs to be used again. Poseidon asks Binks if they could do anything, and He responds that they could help deliver the Noah for it needed to be used again, so Poseidon orders the sea to bring the Noah to the fishman Kingdom. Binks tells Poseidon that when the time is right Binks will count on Poseidon to bring the Noah back up to surface to save the people that no longer have a home to return to, and Poseidon says they'll wait for Binks's word. Binks wants to play a prank on the 20 kingdoms now. Binks and his crew play prank after prank on the 20 kingdoms. Binks and his crew travel across the world building allies. A specific Giant asks the Kozuki clan to craft a sword for them. That sword would be named the Kietsu. Binks then told the Kozuki the history of world, the function/history of the weapons, and the and told them to write it and spread it across the world. While that was happening a clan in Wano decided to betray Binks and the kozuki clan, and that clan was the kurozumi clan. They leaked the information to the 20 kingdoms. Imu then tasked Lili to stop them. The sea monsters, the sky people, The Mink tribe and etc all helped deliver the Poneglyffs. During this time, they created the song binks sake. Binks and his crew personally want to deliver the Poneglyff to Lili. They sailed all the way to her kingdom but was met with a military obstacle. They were conflicted because to them Binks was Joy Boy the one who freed them. Joy Boy bulldozed his way through the army because their will wavered, and he met with Lili with tears in her eyes. They talked and Joy Boy successfully delivered the Poneglyff to her kingdom. Binks and his crew traveled the seas also delivering poneglyffs until they came across a remnant of the ancient kingdom. a remnant that shouldn't exist but here it is. He delivered his tale about the truth of the world and told his tales across the seas as a pirate. His message was kept there. He and his crew prepared for war. The 20 Kingdoms did the same. Joy Boy and his allies traveled to the Castle to stop the 20 Kingdoms from Using Uranus. Imu meets him on seas and told him challenging them is like challenging the world. The war began as Joy Boy said he wasn't afraid, and He screams at the top of his lungs "BRING IT ON" His hearted pumped and produced the sound of war.
The battle was fierce each side losing members, but the 20 kingdoms still had numbers, despite that the Joy Boy alliance was still putting up a fight and if it wasn't stopped the 20 kingdoms would lose. Imu then started to use Uranus recklessly, it took out his allies and Joy Boys. The war came down to wire and despite all odds Joy Boy was going to win, but he got exhausted. He used up his life during the war, and the Joy Boy alliance and the 20 Kingdoms watched as Joy Boy was dying. Imu came to Joy Boy as he was dying. Joy Boy laughed and got back up his heart beating like a drum he awakened, and in a scene like from the one-piece movie film Z he gets back up and fights Imu and the 20 Kingdom while laughing and smiling giving some of his allies' time to escape while some of his crew stayed. In the end the 20 Kingdom crying watched him lose his distinctive look and he lost all energy and started to die. Imu bloodied once again appeared to Joy Boy thinking about their past together sharing moments and fighting against the ancient kingdom and the sea devil together. Imu closed their eyes and walked away and said goodbye Joy Boy it was fun while Joy Boy lied there smiling as wide as the sky. After the war the 20 Kingdoms established the world government. They go around enslaving people and cover up the history of their embarrassing past. They enslaved the giants that helped Joy Boy and make them Pull continents together. This creates the Grand Line. A specific giant with the kietsu named Oars was forced to do this. It took nearly their entire lifetime, but they do it. Not wanting to be a slave anymore they revolt and managed to flee. but Oars is hurt. They hunt him down, but he makes it back to Wano where he begins to die from his injuries while remembering Joy Boy he smiles and then dies. The Tontatta's are enslaved by doflamingo's ancestor. Zuniesha who aided Joy Boy is forced to roam the earth forever because he aided Joy Boy. Lili is soon found out to have helped Joy Boy and before she disappears, she delivers a message that Joy Boy gave her. The ancient Robot who helped Joy Boy soon shuts down because he no long has the will to carry on without the one who gave him freedom. Wano keeps Pluton hidden from the world government and creates a border between them and the world. The sky people leave earth and go to the moon with ancient kingdom technology balloons while crying because the world government rejected them. They write about the ancient weapons and what they did to the world. They long to return one day when they can put their feet back on the soil. The Giants remember Joy Boy and tell his tale whenever they can. Etc Etc Etc Etc You Get the point now. I'd been thinking of this theory for a while. I had to choose between this one and two others. One where Loki is Usopp and he has belief powers not lying powers, also another one that Luffy is literally Joy Boy from the same void century. But it takes so long to write these. The point of my theory is to hopefully provide a new idea to the Era just before the Void Century.

I know AI voices are a little taboo but I wondered if there was one out there (or could be made) that would make Gale sound like Gary Oldman/Sirius Black from Harry Potter (and many other fantastic films)

Hey everyone, I do some part time acting as a hobby. I’m part of a little film club and we’re making a short film. The director wants me to play a character who has a bong. I’m a little worried that having a scene with me with a bong floating around on the internet might ruin my chances of getting hired for a job or cause complications at my current job (I work at a fairly large company). Am I over thinking or is this possible? Should I turn down the role? For context I’m in the southern USA so drugs are more taboo here then in some other countries.