Koimoi Audience Poll 2019: Last year came in as a surprise in both the aspects of filmmaking – content and box office. From Abhishek Chaubey’s Sonchiriya to Ajay Bahl’s Section 375, some movies might not have been received well or worked as expected at the box office, but the directors undoubtedly made an appreciable difference with their direction.
Check out the nominees for 2019’s Best Direction With A Difference below and choose your favourite:
Abhishek Chaubey (Sonchiriya)
Abhishek Chaubey, the sincerest student to come out of Vishal Bhardwaj’s school, continues to create a different world for his films. After a very dark Udta Punjab, Abhishek takes us to the ravines as no one has ever done before. He has mastered the art of silence and there are powerful sequences shoved with a soothing tune of guitar and piano.
Nitin Kakkar (Notebook)
It’s a hat-trick of good films for Nitin Kakkar, after Filmistaan and Mitron. The best thing about this man is that he’s self-aware. He knows what kind of film is he making and stays in that zone throughout. His version of Kashmir is even more beautiful, thanks to the rich production value.
Vasan Bala (Mard Ko Dard Nahi Hota)
Vasan Bala’s first movie in the theatres and he brings out everything he has accumulated all these years of being a Bollywood buff. The love for cinema is visible from the first scene where you hear ‘Yeh toh hona hi tha’ (Ek main aur ek tu) suddenly erupting amidst an action scene.
Vivek Agnihotri (The Tashkent Files)
Vivek Agnihotri infuses a whole lot of political information to design some very good courtroom sequences in the film. The movie emerged as a sleeper hit at the box office.
Ajay Bahl (Section 375)
Ajay Bahl, who previously has helmed a much controversial B.A. Pass, rises high as a director. The long shots in the courtroom sequences, smooth panning are handled very well by Bahl. Things get a little shaky at times, but thankfully such situations are few.
Shonali Bose (The Sky Is Pink)
After movies like Ammu and Margarita With A Straw, one thing was clear about the director Shonali Bose – she’ll get the emotions right, and she did. Using smooth transitions and some pleasing bridging shots, she puts you right in the living room of Chaudhary’s. She stages the film right, using all the available props to fill in the empty spaces.
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