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Exploring Censorship and Artistic Freedom: A Dialogue with Javed and Zoya Akhtar
Lyricist and screenwriter Javed Akhtar, alongside his daughter, filmmaker Zoya Akhtar, participated in a recent Expresso session in Mumbai, engaging in a rich dialogue centered around literature, cinema, and their shared familial bond.
Zoya, who has made waves with her recent projects such as the Netflix adaptation of The Archies and the coming-of-age film Kho Gaye Hum Kahan, touched upon the implications of relaxed censorship within OTT platforms. She firmly countered the notion that indirect expression could surpass explicit representation, especially concerning intimate scenes. “It’s crucial to represent consensual intimacy onscreen,” she stated passionately. Reflecting on the cinematic landscape of her youth, she observed, “I grew up in an era where women faced bullying, violence, and harassment on-screen, yet even a kiss was off-limits. Audiences deserve to witness love, tenderness, and the physical connection between adults,” a sentiment that resonated with attendees, prompting applause.
While recognizing the challenges of a more liberated artistic expression, Zoya underscored the significance of individual storytelling approaches. “Each film carries its own tone, and filmmakers convey narratives uniquely. For instance, in Ramesh Sippy’s Sholay, the portrayal of violence was groundbreaking for its time, while Quentin Tarantino’s approach is highly stylized and dramatic. It all boils down to the feelings you wish to evoke in the audience,” she elaborated. Furthermore, she pointed out the cultural variances in how intimacy is depicted, remarking, “The French are generally more accepting of male nudity compared to Americans. This reflects personal comfort regarding sex and body image.”
Javed Akhtar contributed to the conversation by emphasizing the role of intention behind artistic choices. “Presenting a love scene purely for shock value is different from aiming to foster genuine romance and connection,” he articulated. Drawing from his experiences in cinema, he recalled, “I’ve never resorted to harsh language in moments of anger. However, I found no issue with its use in the film Bandit Queen, since the purpose wasn’t to shock but to convey depth—intention is paramount.”
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