No, I think it’s quite unrealistic to expect what we call Bollywood or–I don’t think we should restrict ourselves when we’re talking about 100 years of cinema, we shouldn’t be talking only about Bollywood because after all there’s the Tamil cinema, and there’s Malayalam cinema and so on. But I think what unites all of them when we speak of their genre of filmmaking is that it’s commercial cinema. And I think to have expectations of a certain sort of–of any kind of politics, especially radical politics, coming out of a system which is essentially constructed around money, I think its an unrealistic assumption. I think that it’s something which will never be fulfilled. After all, if we look at America and you look at Hollywood, there are films that question the status quo in America, but they don’t come out of the studio system, because that studio system is like Bollywood, it’s all about money its about somebody is going to invest money. Now the sum of money may not be a hundred crore like in a big feature film, it could be five crore, but who is going to give you five crore and not expect returns. So I think the key to understanding commercial cinema whether it’s out of Bollywood or Chennai or Thiruvananthapuram or Kolkata, is that it’s essentially about money. And I think there was a brief period in the ‘70s and '80s when, what used to be called the Film Finance Corporation and later the National Film Development Corporation, tried to slip in and support what was called alternative cinema. It was an interesting experiment but doomed to fail because, you know, here you had films that were meant to push the boundaries of what we are talking about, they were meant to take on themes of the countryside, of what was happening in villages, but it was funded by the government! The government was happy to give a little bit of money to allow those films to be made, but they put nothing into the distribution of those films–and I’m not surprised because some of those films were, in their own way, quite radical in their questioning of what was going on. So whether it’s Bollywood commercial cinema or it’s a state supported alternative cinema, I think that it would be very very naive to expect them to actually produce anything which questions the status quo–which is I think when we are talking about political cinema, that’s what we are talking about, films that actually question things, and that’s not going to happen.
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