THE leitmotif of adman-turned-film maker Dibakar Bannerjee’s oeuvre thus far is his ability to throw a well-timed spanner into your mental machinery; his instinctive ability to lead you along a particular train of thought and just when you are comfortable with where the journey is taking you, to derail that train, to push you into rethinking your comfortable assumptions.
That ability has driven his three previous films – Khosla ka Ghosla; Oye Lucky! Lucky Oye! and Love, Sex and Dhoka – to that rare Bollywood double, critical acclaim and commercial success. And with each successive film that he has helmed to success, the aura surrounding Dibakar, as a young film-maker working at the boundaries of both his personal craft and industry convention, has grown, leading to the inevitable questions: What next? How long can he keep going against the industry grain before he succumbs and becomes a packager as opposed to a story-teller?