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Koimoi Audience Poll 2019: “A ship is as good as its captain & a movie is as good as its director.” From Zoya Akhtar’s Gully Boy, Sandeep Reddy Vanga’s Kabir Singh to Amar Kaushik’s Bala, let’s take a look at the nominations for the best direction of 2019.
Take a look at our exclusive list of the best film directors of the year gone by and vote for your favourite now!
Aditya Dhar (Uri: The Surgical Strike)
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Aditya Dhar leads this cinematic cyclone by mashing up tad bits of reality and a certain dose of fiction. The realistic approach works very well but the fiction could have been better. Because of this, there remains an unsettling wave in your mind regarding the likeness of the film. You want to love the film and it deserves each shred of respect. Dhar makes an impressive debut and Bollywood gets a director to look out for in the near future.
Zoya Akhtar (Gully Boy)
If Zoya Akhtar can celebrate the way of living of elitists, she can glorify the streets too – it’s all about the story. From Luck By Chance, to Zindagi Na Milegi Dobara, Dil Dhadakne Do and now Gully Boy – no one in Bollywood understands the characters as Zoya does. Even in this film, she has got into the life of slums to present them as real as it is.
Sujoy Ghosh (Badla)
Sujoy Ghosh has adapted the screenplay to design it into that unsolvable question of logical reasoning. He steers the narration keeping in mind about how after a point of time all will not be about ‘who is the murderer?’.
Anurag Singh (Kesari)
Anurag Singh has delivered worth talking movies in the Punjabi film industry and his direction is brilliant in this one too. Two things because of which his direction gets hampered are the lousy build-up of the first half of the story and its lazy editing.
Sandeep Reddy Vanga (Kabir Singh)
Sandeep Reddy Vanga’s direction is minus any compromise. He extracts a top-notch performance from Shahid; ensures the drama doesn’t look forced & is not more than required. A healthy amount of humour also makes the 171 minutes film an entertaining ride. He goes easy with the pace of the film, which at times comes in as an obstacle for it.
Anubhav Sinha (Article 15)
Anubhav Sinha, after Mulk, has strengthened his foothold in his ‘socio-political’ zone with Article 15. Dealing with such dull undertones, Sinha never tries to make this movie look ‘beautiful’. The beauty lies in the redemption provoked by its narrative.
