Family feuds in Bollywood are nothing new, but when one of the industry’s most outspoken directors, Anurag Kashyap, opens up about his strained relationship with his brother, Abhinav Kashyap, it’s bound to raise eyebrows. But here’s where it gets controversial: Anurag doesn’t hold back, labeling his brother ‘business-minded’ and revealing a stark contrast in their approaches to cinema. While Abhinav has made headlines for his bold accusations against Bollywood heavyweights like Salman Khan and his family, Anurag has chosen a more measured path—until now.
In a recent interview on Gamechangers, Anurag shed light on their differing perspectives. When asked if he supported Abhinav after the latter was allegedly sidelined by the industry, the Gangs of Wasseypur director didn’t mince words. ‘He’s always been independent-minded,’ Anurag explained. ‘He views cinema through a different lens—one that’s deeply rooted in commerce.’ And this is the part most people miss: While Anurag is a self-proclaimed cinephile, passionate about the art of filmmaking, Abhinav has always seen films as a business venture. ‘He came to Mumbai to study management,’ Anurag recalled. ‘Even when I was hesitant to take on work, he’d step in, saying, “I’ll get it done.” He’d handle projects under my name without me even knowing.’
This clash of ideologies isn’t just personal—it’s a reflection of a broader debate in Bollywood: Is cinema an art form or a commercial enterprise? Abhinav’s career trajectory adds another layer to this question. After the massive success of Dabangg, starring Salman Khan, he became one of Bollywood’s most talked-about directors. But his journey took a turn when he accused Salman and his family of mistreatment during the film’s shoot and claimed he was dropped from the sequel via text message. Later, he directed Besharam with Ranbir Kapoor and co-wrote the 2007 hit Saiyaara, but gradually stepped away from mainstream projects.
Here’s the bold question: Does Abhinav’s business-minded approach make him a pragmatist in an industry driven by profits, or does it undermine the artistic integrity of cinema? And what does Anurag’s critique say about the sibling rivalry that’s often overshadowed by their professional differences? One thing’s for sure—this isn’t just a family drama; it’s a thought-provoking glimpse into the heart of Bollywood. What’s your take? Do you think cinema should prioritize art or commerce? Let’s debate in the comments!