Monthly Archives: September 2025

Which Scenes Were Censored in Homebound?

On the day of Homebound‘s global theatrical release, Indian journalist Aroon Deep published a list of edits demanded by the Central Board of Film Certification (CBFC) before the film could play in India. These changes weren’t required for the international theatrical release of the movie, and audiences elsewhere were able to watch the original version. I saw the unedited version of Homebound, and I loved it.

Fans across the globe should care about this, because Homebound‘s streaming partner Netflix is likely to carry the edited version. [Update: Netflix is carrying the censored version.] The Indian government presumably wouldn’t allow the original to stream on Netflix in India, and it wouldn’t make logistical sense to carry a separate version just for subscribers outside of India.

Given the sensitive nature of the film’s subject — discrimination faced by Indian Muslims and Dalits — what kinds of changes did the CBFC demand from Homebound? Here’s the list Aroon Deep published on September 26:

A few of these are standard requests, such as showing the title in both English and Hindi and adding alcohol warnings. But a number have to do with changes to dialogue and visuals, some of which could alter or dilute filmmaker Neeraj Ghaywan’s intent. Note how vague many of the instructions are, like Cut No. 10: “Deleted and suitably replaced the visuals of news.” There’s no way to tell what was cut or how it differs from what replaced it.

Since Aroon Deep and I have both seen Homebound in the versions available in our respective countries — him the Indian edit and me the international original — we compared notes to see what was changed. I’m mostly reliant on English subtitles over spoken Hindi, so any dialogue is from the translated English subtitles unless otherwise specified. We looked at four key cuts:

Cut No. 4: “Deleted the dialogue ‘Aloo gobi… khate hain’ at TCR 11.33”

This is from a scene where an older Muslim cop encourages Shoaib to go work in Dubai. All the note tells us is that the original dialogue was something like: “Aloo gobi… is called.” What the cop says is, “At least over there, no one will ask you, ‘Is your aloo gobi halal, too?'” That’s what I could gather from my limited Hindi. The English subtitle is translated as, “At least over there, no one will ask you, ‘Do you slaughter your vegetables, too?’.”

Cut No. 9: “Deleted the scene at TCR 01.22.19”

Though much of the scene where Chandan pretends to be of a higher caste in order to find out his exam results from a police administrator who complains about the quota system is the same, one closing line appears to be absent. The administrator — who knows Chandan is lying — says as he’s leaving, “If a pig wears a lion’s skin, it doesn’t become a lion.”

Cut No. 10: “Deleted and suitably replaced the visuals of news.”

A news report explains how migrant workers are forced to return home on foot due to prolonged COVID-19 quarantine measures that closed businesses. A closing segment of the report is missing from the edited version: “Last week, some officials accused a Muslim missionary group of being a ‘super-spreader.’ Calling this fake news, the opposition condemned the allegations and urged citizens not to spread rumors on social media.”

Cut No. 13: “Modified the visuals of the car passing by at 01:38.20 mins. approx.”

As Shoaib and Chandan walk along a deserted road, a car passes them but does not stop. The car in the edited version is a plain white SUV, but the car in the original had a red light on top, indicating it to be some kind of government or police vehicle.

Thanks again to Aroon Deep for making the censor sheet public and helping me figure out what changed from the original. You can follow his reporting on X (née Twitter) here.

Movie Review: Homebound (2025)

4 Stars (out of 4)

This is a review of the uncensored version of Homebound. Here is my article on Which Scenes Were Censored in Homebound.

Watch the censored version of Homebound on Netflix

Two best friends find their future opportunities limited by discrimination, poverty, and systemic shortcomings in the touching drama Homebound. India’s selection committee picked a worthy submission to the 98th Oscars.

The film opens in North India around 2017-18. Best friends Shoaib (Ishaan Khatter) and Chandan (Vishal Jethwa) want to become police officers, a feat that first requires battling their way through a crowded train platform before they can even reach the admissions testing site. The crowd they navigate consists of hundreds of other young men and women vying for the same posts — a fraction of the 2.5 million applicants from across the country for just 3,500 job openings.

Shoaib is Muslim, and Chandan is from one of the Scheduled Castes. They’re sick of being looked down on by higher caste Hindus and figure that being cops armed with batons will put an end to the disrespect they’re accustomed to.

A year goes by with no word on the exam results, leaving the guys in limbo. They’ve invested so much in this dream that taking any other job seems like giving up. But there’s a hole in the roof of Chandan’s family home, and Shoaib’s dad needs knee surgery so he can get back to work in the fields. The guys can’t wait on their dream forever.

Writer-director Neeraj Ghaywan is so effective at communicating how immediate the needs of the poor are. With no financial cushion, problems quickly become emergencies. Even when the government creates opportunities intended to level the playing field — such as reserving university spots for those from castes historically denied admission — taking advantage of them requires planning and sacrifice from family members who don’t have much left to give.

One of those family members is Chandan’s older sister Vaishali (Harshika Parmar). Chandan opts to go to college to be with a woman he met at the police exam, Sudha (Janhvi Kapoor). When Chandan later drops out, Vaishali points out that he’s squandering opportunities their traditional parents would never let her have. He’s flitting between uncertain futures while she’s stuck working as a bathroom attendant at an elementary school. He needs to settle on a way to contribute to the family and stick with it.

The story takes a major turn when the guys get jobs in a garment factory over 1,000 kilometers away from home. They earn steady money that gives their families stability. Then COVID-19 hits. The government institutes same-day lockdowns that last for weeks, shuttering businesses. As money runs out, migrant workers like Shoaib and Chandan are forced to make their way home, sometimes on foot.

It was journalist Basharat Peer’s reporting on such cases for the New York Times that inspired Ghaywan to write Homebound. In fleshing out backstories for his main characters, Ghaywan draws together the various threads that create the net that traps people like Shoaib and Chandan in poverty. Sudha represents someone able to take advantage of the government’s efforts to remediate caste discrimination, but the mistreatment experienced by the guys show just how easy it is for bigots to undercut those efforts.

The cast of Homebound is wonderful. Khatter’s spent the last few years proving why he’s probably the best actor of his generation, but Jethwa makes a compelling case for why he should be included in the discussion. The friendship between Shoaib and Chandan feels so real, through all of its ups and downs.

Kapoor uses her supporting role to show just how impactful she can be when not playing a lead. Parmar likewise stands out even though she’s only in a few scenes. Vaishali is pragmatic, but her advice is also clearly motivated by her own emotional baggage. Both sets of the boys’ parents are played beautifully played as well.

Ghaywan’s sophomore effort after 2015’s terrific film Masaan was a decade in the making but worth the wait. Homebound is insightful and thought-provoking, painting a vivid picture of the challenges faced by those living in poverty in contemporary India.

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Streaming Video News: September 25, 2025

I updated my list of Bollywood movies on Netflix with three new additions today: the Hindi sequels Dhadak 2 and Son of Sardaar 2 and the Malayalam film Odum Kuthira Chadum Kuthira. The streamer also released a trailer for the new Tamil series The Game, debuting October 2:

I also updated my list of Bollywood movies on Amazon Prime with today’s streaming debut of the Tamil film Ghaati. The celebrity chat show Two Much with Kajol and Twinkle premiered earlier this week.

Finally, I updated my list of Bollywood movies on Hulu with a trailer for the newly announced series Search: The Naina Murder Case, coming October 10:

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Movie Review: Saiyaara (2025)

3 Stars (out of 4)

Watch Saiyaara on Netflix

Cinema needs the occasional overwrought, youthful, romantic melodrama, and director Mohit Suri has made it his mission to supply them. Saiyaara nicely exemplifies the sub-genre thanks to earnest performances by its talented leading couple.

We’re introduced to the deep-feeling poet Vaani Batra (Aneet Padda) as she’s stood up at her courthouse wedding by a jerk named Mahesh. She’s so devastated that she passes out. She spends six months convalescing at the home of her supportive, progressive parents — Mom is played by Geeta Agarwal and Dad by Rajesh Kumar — before reentering society.

Mahesh’s betrayal zapped Vaani’s ability to write, and she hopes she can get it back by doing celebrity interviews for an entertainment website. On the way to her job interview for the site Buzzlist, she sees a handsome bad boy on a motorcycle. Later, the same guy hands over the journal she left outside the office — Vaani has a habit of forgetting things — before beating up one of the site’s writers for an insufficiently flattering article about his band.

The angry young man is Krish (Ahaan Panday), lead singer of the rock group Josh. Krish has temper issues stemming from his mother’s death when he was a kid, followed by his father’s turn to alcoholism, which resulted in Krish becoming his caretaker. Krish wants the world to give him all the love and adoration he missed out on as a child, and he wants it now.

Having peeked at Vaani’s journal before returning it, Krish realizes she’s got talent. He uses some of her lyrics in a song and proposes a partnership. Vaani isn’t sure she’s up to the task, but spending time having fun with Krish restores her creative abilities.

Naturally, the two fall in love. Thanks to their songwriting partnership, the band becomes a sensation, putting fame finally within Krish’s reach. Their bliss is short-lived, however, as Vaani experiences health problems that change the terms of their relationship and impact Krish’s career path.

Not to diminish the severity of Vaani’s condition, but it’s presented in a very film-friendly way, making it more of a plot point than an in-depth look at a specific condition. It’s meant to raise the stakes during a period in the characters’ lives when their emotions are already experienced at maximum volume.

The emotional intensity in the story almost makes Saiyaara feel more like a movie about teenagers than one about people in their mid-twenties. Their fervor feels like an outwardly expressed version of what the characters in Twilight were supposedly holding back via Kristen Stewart’s and Robert Pattinson’s, um, restrained performances. But Bollywood doesn’t make movies about teenagers, so instead we have college graduates yelling, “I love you, Krish Kapoor” at the top of their lungs.

That said, the passionate performances work because Padda and Panday play their parts with complete sincerity. There’s no trace of ironic detachment, and it helps to build a world where where passion can move mountains. There’s an idea in the film that one could write a song so heartfelt that it could bring a lover back no matter how far the distance between them. It’s similar to themes in some Japanese role playing video games (JRPGs) of the power of human will to alter the very nature of the universe and time itself. I really enjoyed that aspect of Saiyaara.

The undeniable takeaway from the film is the star potential of both Padda and Panday. They seem much more experienced than their collective three IMDb acting credits (all Padda’s) would indicate. She performs with a charming combination of vulnerability and strength, and he brings depth to a character that could have been one-note. They have electric chemistry together, and the film is quite sexy as a result.

As in Mohit Suri’s 2013 film about a troubled rockstar’s romance — Aashiqui 2 — music plays a central role in Saiyaara. Again, power ballads carry the soundtrack, but I like the way they work in Saiyaara better. The yearning in the title track (sung by Faheem Abdullah) fits the notion of being able to reach a loved one across time and space. The soundtrack propels the story forward and keeps it from ever losing momentum.

Saiyaara isn’t the most unique movie — it can’t be, as it’s inspired by the 2004 Korean film A Moment to Remember. But it scratches a certain itch for stories about undying devotion and all-consuming passion. What a bonus if we get two new Bollywood stars out of it.

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Streaming Video News: September 19, 2025

I updated my list of Bollywood movies on Netflix with today’s streaming debut of the animated film Mahavatar Narsimha and yesterday’s premiere of the Hindi series The Ba***ds of Bollywood. I wrote about everything you need to know about the new show from Shah Rukh Khan’s son Aryan for What’s on Netflix. In other news, the sports drama Soorma expires October 13.

I also updated my list of Bollywood movies on Hulu with two new series: the Tamil show Police Police (also in Hindi, Malayalam, and Telugu) and Season 2 of Kajol’s Hindi series The Trial (also in Bengali, Kannada, Malayalam, Marathi, Tamil, and Telugu).

Finally, I updated my list of Bollywood movies on Amazon Prime with the addition of the Kannada film Sunday Special.

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Streaming Video News: September 12, 2025

I updated my list of Bollywood movies on Netflix with the streaming debut of this year’s surprise box office hit Saiyaara.

I also update my list of Bollywood movies on Amazon Prime with yesterday’s premiere of the new Hindi series Do You Wanna Partner, starring Tamannaah Bhatia and Diana Penty. Other big new additions this week include Rajnikanth’s Coolie and the Telugu films Paradha and Kannappa.

Amazon released a teaser for the chat show Two Much with Kajol and Twinkle, debuting September 25:

Finally, I updated my list of Bollywood movies on Hulu with the premiere of the new Telugu series Rambo in Love (also in Hindi, Malayalam, and Tamil). Other recent additions include the Hindi-dubbed version Thammudu (the original Telugu version is on Netflix) and the Kannada movie Su From So (also in Malayalam and Telugu).

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]

Movie Review: Songs of Paradise (2025)

3.5 Stars (out of 4)

Watch Songs of Paradise on Amazon Prime

Writer-director Danish Renzu’s love-letter to Kashmiri music history is vibrant and sweet. A charming cast recreates a world on the cusp of progress. Songs of Paradise is a delight.

Though not a biographical film, Renzu’s story is heavily inspired by the life of Raj Begum, Kashmir’s first female radio singer who died in 2016. Her achievements won her not just fame but also one of the Indian government’s highest civilian honors: the Padma Shree.

In Songs of Paradise, the character inspired by Raj Begum goes by the stage name Noor Begum (Soni Razdan). A framing device finds Noor in the modern day narrating her life to graduate student Rumi (Taaruk Raina), who’s writing a thesis on the history of popular music in Kashmir (and serving as an onscreen avatar for Renzu himself).

Before she started singing professionally in 1954, Noor Begum was simply Zeba Akhtar (Saba Azad). She grew up in Srinagar with her open-minded father (played by Bashir Lone) and conservative mother, Hameeda (Sheeba Chaddha).

Zeba earns money cleaning house for a music teacher, Master Ji (Shishir Sharma). Master Ji has no idea Zeba can sing, until he overhears her performing for a group of women at a family function. Recognizing her potential, Master Ji offers to train Zeba for free. He’s so impressed with her ability that he signs her up for the local radio station’s annual singing contest — something no other woman has done before.

“Freedom and progress were in the air,” the film notes. But not everyone is ready for change — not even Zeba herself. She hides her music lessons from her traditional mother under the guise of extra work hours. While Zeba enjoys her studies, she has no ambitions for them to lead to anything else. But she competes in the contest and wins decisively.

Her victory comes with a new job, performing songs live on the radio with the in-house band. Zeba’s presence causes upheaval in the male-dominated space, but soon everyone realizes the boost her heavenly voice gives the whole station. In trying to make the situation more equitable for her, Zeba champions change that makes things fairer for everyone, such as demanding grumpy station owner Mr. Kaul (Armaan Khera) read the names of every participating musician after every broadcast.

Zeba is interesting because she’s not trying to blaze a trail. Master Ji and her father want her to succeed because they care for her, and the station’s staff lyricist Azaad (Zain Khan Durrani) wants Kashmir to catch up with Bombay’s thriving film-music industry. But there’s a toll paid by trailblazers and those around them, and Zeba seems to know this. That’s the main reason she adopts the stage name Noor Begum. Yes, she’s afraid of what will happen if her mother finds out, but she’s also protective of her parents. Srinagar isn’t a huge town, and gossip travels fast.

Through her stern performance as Hameeda, Sheeba Chaddha makes sure we understand exactly why Zeba is scared of her mom. Hameeda levels a stare at Zeba that’s so withering that the film should come with a warning to protect delicate houseplants. Yet, when Noor Begum’s real identity is discovered, all of Zeba’s mother’s fears about social consequences come true.

Thankfully, Zeba and her family are saved by her greatest champion: Azaad, the station’s in-house lyricist. The two marry, and their romance is both tender and thrilling. They embody the style of the era and make a dashing couple. With Azaad’s support, Noor Begum capitalizes on the opportunities that arise as her soulful voice spreads beyond the borders of Kashmir.

One of Renzu’s points in making Songs of Paradise is to remind us how fragile history is. In an era before digital backups, physical copies of recordings were all that existed. Lose them, and you lose the performance, the song, the film. The credits of Songs of Paradise note that many of the songs used in the movie are recreations, likely due to there being no surviving physical recordings. The music in the film is a lovely augment to a charming story of progress and promise.

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Movie Review: Inspector Zende (2025)

3 Stars (out of 4)

Watch Inspector Zende on Netflix

1970s serial killer Charles Sobhraj is a popular entertainment subject for a reason. He used his charisma to recruit followers to help him steal money and murder tourists across Southeast Asia to fund his lavish lifestyle. He earned the colorful nickname “The Bikini Killer” due the attire several of his victims were wearing when they were discovered deceased.

Inspector Zende turns the lens away from the flashy criminal and onto the police officer who caught him — not once, but twice. Perfectly-cast lead actors make the most of an amusing comedy that loses steam as it goes along.

Inspector Madhukar Zende is played by Manoj Bajpayee. The character is based on a real person — who makes a cameo at the end of the film — and uses his real name. To make it clear that this is a fictional story and not strictly biographical, debutant Hindi writer-director Chinmay Mandlekar changes the villain’s name from Charles Sobhraj to “The Swimsuit Killer” Carl Bojhraj (played by Jim Sarbh).

Zende first apprehended Bojhraj in India back in 1971, when the criminal specialized in fraud and property crimes. After escaping from various international prisons over the years, Bohjraj breaks out of Tihar Jail in Delhi in 1986 after drugging the dessert he served to prisoners and guards to celebrate his birthday (it wasn’t even his actual birthday).

Immediately, Zende knows that he has to be the one to capture Bojhraj. He knows how Bojhraj thinks and where he’s likely to be. But a lot has changed in the 15 years since he first caught the villain. Zende is older, and he has responsibilities he didn’t back then, namely a wife Viju (Girija Oak) and a couple of kids. Viju — whom he affectionately calls “The Commissioner at Home” — wonders why someone else can’t catch the escaped killer.

The sweet, flirty relationship between Zende and Viju is a real highlight of the film. According to an interview Bajpayee did with the real Madhukar Zende for Netflix India’s YouTube channel, this part of the story is absolutely true. Zende’s family is more important than his sense of professional pride.

But Zende holds himself to high moral standards that are worth quoting directly: “One who does not commit injustices on others is a noble man. One who does not let others do injustice to himself is a good man. One who stops injustice from happening to others is a true man.” (Credit to Natasha Acharya for the great English subtitles.) Zende can’t be a “true man” if he leaves this task to others, potentially allowing innocent people to get hurt in the process.

Acknowledging this older, less agile Zende enables the film to take on a more lighthearted, humorous tone. What Zende lacks in speed he makes up for in guile. Not that his hand-picked crew of fellow cops are in prime shape either, be it his humorless second-in-command Jacob (Harish Dudhade) or his bumbling assistant Patil (Bhalchandra Kadam). The inspectors need more smarts than strength as they follow Bojhraj’s tracks across Mumbai and eventually to the international tourist hotspot Goa.

For movie fans like me who are happy to watch Bajpayee and Sarbh in just about anything, Inspector Zende delivers. Bajpayee finds the right mix of earnestness and playfulness for a movie that is supposed to be fun, despite its grim inspiration.

Sarbh’s performance adds to that sense of humor while still making Bhojraj dangerous. The killer’s foreign origins and taste for luxury means that Sarbh plays the role with a French accent and wearing a wig that evokes Prince on the cover of his self-titled 1979 album. It’s an amusing persona, but appropriate for the character.

The trap Mandlekar falls into with his first feature directorial is making a comedy that overstays its welcome. Some of the film’s best physical comedy is saved for a climax that arrives ten to fifteen minutes after the movie should have ended, and the bit doesn’t land as well as it should as a result.

Still, there’s more than enough going for Inspector Zende to warrant a watch. And writing an Indian police officer character who sees himself as a protector of the innocent rather than a one-man judge, jury, and executioner is a refreshing change of pace. We need more of this.

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Streaming Video News: September 5, 2025

I updated my list of Bollywood movies on Netflix with today’s premiere of the Original Hindi film Inspector Zende, starring Manoj Bajpayee and Jim Sarbh. I enjoyed Inspector Zende, but if you’re not sure if this crime comedy is for you, check out my Inspector Zende preview for What’s on Netflix.

The latest Netflix expiration news is that all versions of Baahubali: The Beginning and Baahubali 2: The Conclusion are leaving on September 30. The combined Baahubali: The Epic hits theaters October 31, so I wouldn’t be surprised if that has something to do with the Netflix removal.

I also updated my list of Bollywood movies on Amazon Prime with yesterday’s streaming debut of Rajkummar Rao’s action film Maalik.

If that’s not enough to watch this weekend, the Vikrant Massey-Shanaya Kapoor romance Aankhon Ki Gustaakhiyan is now streaming on ZEE5.

[Disclaimer: my Amazon links include an affiliate tag, and I may earn a commission on purchases made via those links. Thanks for helping to support this website!]