It’s 2019 and yet in some of the year’s biggest scripts, actresses continued to play second fiddle. Save for Gully Boy’s Safeena, most of them were devoid of a personality. In one of the highest grossers of the year, Kabir Singh, Preeti exists only to get exploited, and in Kesari, we still don’t know if Parineeti Chopra is a ghost or a memory.

Hrithik Roshan’s rendition of Anand Kumar is basically playing a tanned version of Hrithik Roshan who has single-handedly murdered the Bihari accent. But Super 30’s biggest failure is as a biopic: We are told little about the genius mind of Anand Kumar, even though Roshan occupies almost every frame of the film.

Hrithik Roshan’s has had a safe filmography so far with the exception of Guzaarish. In the Super 30 trailer, Roshan, hidden under layers of brownface makeup, looks or sounds nothing like Anand Kumar. But will he surprise us with his acting?

At the song launch of her upcoming film, Judgmentall Hai Kya, Kangana Ranaut took on an unsuspecting journalist and accused him of running a smear campaign against her. It’s unfortunate but the actress who was once applauded for being a bold outsider has turned into a tantrum-throwing diva.

Anubhav Sinha’s Article 15 revolves around an upper-class police officer investigating the gang-rape and murders of two minor lower-caste girls. For a film industry that tip-toes around caste, the mere existence of Article 15 is commendable. But the movie often feels disconnected from the ills of casteism.

Back in 1999, when Ram Gopal Varma shot Kaun, a home-invasion horror with a single set, three characters, loose threads and under 15 days, it seemed like he was courting disaster, or worse, boredom. But 20 years later, the film’s experiments with crafting an atmospheric horror is nothing short of revolutionary.

Every woman watching Kabir Singh isn't just watching a film. They're inevitably imagining a scenario where they are stripped of their agency, only to have a man cross the boundaries of what qualifies as love and what it is never anything but violence. The trouble is, the box-office is applauding.

Seven years ago, Anurag Kashyap gifted us Gangs of Wasseypur, a gangster epic we could proudly call our own. Perhaps even more than the film’s masterful characters, it’s quotable dialogues have achieved cult status. Tigmanshu Dhulia makes “bhosdi ke” sound poetic while Manoj Bajpayee takes everyday cuss words and elevates them to something Voltaire would be proud of.

Disguised as a love story, Sandeep Reddy Vanga’s Kabir Singh justifies what Indian men have been trying to normalise since time immemorial: That anger is a man’s birthright. That rage is necessary for a man to exert his dominance over a woman and the world needs to accept it.

Welcome to IID, the Indian Institute of Discrimination, a college dedicated to nurture your passion for prejudice featuring Ayushmann Khurana. Admissions now reserved. For the privileged. Article 15 releases on June 28.