“ How can Chor be creative '': Nawazuddin Siddiqui Bollywood, says that Anurag Kashyap was doing a good job

At a time when the consequences, remakes and remained formulas dominate the box office, actor Nawazuddin Siddiqui sparked a new debate on the continuous fight of Bollywood with originality. Known for his raw and not filtered opinions and an impressive filmography which extends over Indies and commercial successes, the actor did not retain a recent interview when he dissected the current creative crisis by entering the film industry in Hindi. By calling for the lack of innovation in the defense of Anurag Kashyap, who has moved away from the toxicity of Bollywood, Nawaz has once again been proven that he was not afraid to tell the truth in power.

Bollwyood's creativity in crisis?

According to Nawazuddin, Bollywood today is stuck in a repetitive cycle, clinging to formulas that have worked in the past, instead of innovating or taking risks. This creative stagnation, he believes, was born from increasing insecurity within the industry. Producers are more comfortable recycling ideas, turning endless suites and counting on past tubes rather than investing in fresh content or voices. The result is what he calls a form of “creative bankruptcy”, where even the films celebrated as cult classics may not be entirely original below the surface.

Culture of copying: cinema south and beyond

One of the most sharp points that Nawaz raised concerned the Bollywood trend to generously borrow from other industries, especially the cinema in southern India. He pointed out how scenes and concepts are frequently raised without granting credit and how this practice was standardized over time. What had been done discreetly has now become part of the production process, whole films being reproduced framework by frame. This dependence on imitation, suggested Nawaz, reflects a deeper problem in the state of mind of the industry: a lack of faith in the new narration and resistance to risk.

Anurag Kashyap to leave Bollywood and move

In his frank criticism, Nawaz also discussed the release of talented filmmakers like Anurag Kashyap, who once brought a daring and unconventional cinema in the dominant current. Recently, director Gangs of Wasseypur said, he did not leave the cinema; I have just moved from Mumbai and moved away from the film industry. He then specified that he remains occupied by several projects to come, but admitted that the increasingly toxic environment of the industry played a role in his departure from the city.
Anurag Kashyap estimated that the creative spirit had disappeared, replaced by an implacable prosecution of unrealistic targets at the box office, everyone focused on making the next RS 500 or RS 800 Blockbuster. For Kashyap, the city had lost its essence, not only in its physical transformation, but in people and energy which once fed creativity. Instead of relaunching, the environment had become the one that led to artists.

Nawazuddin's return to the screen with Costao

In the midst of this greater criticism, Nawazuddin Siddiqui continues to show an example with daring narration choices. He was recently seen in Costao, a biographical criminal drama in difficulty on ZEE5. Located in the 1990s Goa, the film tells the story of an intrepid customs agent who takes a powerful smuggling network while facing the resistance of the two criminals and his own department. Nawaz plays the title role of Costao Fernandes, an officer in principle sailing in a corrupt system. The film received positive criticisms for its captivating account and the convincing performance of Nawaz. He also marks the beginnings of director of Sejal Shah and presents an overall distribution, notably Priya Bapat, Kishore Kumar G, Gagan Dev Riar and Hussain Dalal.

What is the next step for Nawazuddin Siddiqui?

After Costao, Nawazuddin has an excited slate with films like section 108, Noorani Chehra, Sangeen and Raat Akeli Hai 2. Known to balance traditional roles with niche projects, Nawaz continues to be a rare voice in Bollywood, someone who not only repels artistic borders but also defies the interior system.