Consider the following A-listers from Bollywood’s current crop: Dibakar Banerjee (Khosla Ka Ghosla, Love, Sex aur Dhokha), Anurag Basu (Life in a Metro), Sujoy Ghosh (Kahaani, Kahaani 2), Aniruddha Roy Chowdhury (Pink), Shoojit Sircar (Vicky Donor, Madras Cafe, Piku) and Pradeep Sarkar (Parineeta). The films of Onir (My Brother Nikhil) and Ayan Mukherjee (Wake up Sid) too fit into this category. In each case, the directors, while adhering to ‘entertainment’ narrative techniques and styles—including the suspense-thriller, comedy, romance forms—have dealt with themes such as date rape and sperm donation. Khosla ka Ghosla is about the common man’s sufferings at the hands of real estate mafia, Shooji Sircar humourously chronicles the social stigma attached to men pursuing unusual careers in Vicky Donor. Ayan Mukherjee examines an abstract urban phenomena such as a deep, pointless malaise, in Wake Up Sid. Onir delineates the taboo topic of homosexuality in My Brother Nikhil. In Kahaani 2, Sujoy Ghosh brings out not the psychological trauma that plagues sexually abused children for life, but points to our apathy towards it too. Aniruddha Roy Chowdhury’s Pink is a poignant commentary on how independent women are seen as easy game.