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Some filmmakers can thrive on controversy; their films are extensions of their loud, provocative public persona. Imtiaz Ali is not that filmmaker. His best work whispers, it doesn’t scream. When his press rounds start looking like clumsy opinion columns about society, he dilutes the mystique that made audiences lean in.
That’s why, at this point in his career, he would be better off skipping any interview where the talking points are:
- “What do you think of today’s audience?”
- “What did you mean by Deepika’s ‘good girl image’?”
- “Do online people even understand your cinema?”
These are traps, not platforms. They don’t sell a film; they sell controversy. And controversy that’s disconnected from the film’s content rarely converts into box office or long‑term love. For a director who once had an entire generation on his side, the smartest move is simple: stop explaining, stop poking the internet, and let the next film do the talking.
