Winners of the Filmfare Awards 2019

Raazi is a well-made spy film brimming with patriotic fervour. The 1971 war serves as the backdrop of this spy thriller. It remains true to the period details as well.

Andhadhun will remind you of American pulp movies, where every character is bent and serves his or her own agendas. The film offers homage to the Hindi film music of the ‘70s as well, what with Ayushmann playing many hit tunes of the era on his piano.

For the sake of his role, Ranbir somehow convinced himself that he’s actually Sanjay Dutt -- and hence the physical transformations and the voice modulations look so convincing as they contain part of Dutt’s soul.

Ayushmann Khurrana is a steal as the piano player with a kink. His switches from being blind to being normal are spot on and later, his helplessness and rage at being subjected to the world's unfairness is apt too.

Ranveer flexed both his hard earned muscles as well as his acting muscles to give us a portrayal of a power hungry ruler driven by lust to commit atrocities. It’s easily his best performance so far.

Alia is the soul of the film. You can feel the strain she undergoes of being a field agent, laying aside all humane feelings and knowing well she may have to pay the ultimate sacrifice.

Neena Gupta is such a natural you feel she's actually pregnant. She glows at getting another chance to play mother and just lets life take over. Her reaction scenes with Gajraj Rao (and indeed with everyone else) are on point.

She directed her first film, Filhaal, in 2002. The film centered around surrogacy. Her second movie was Just Married in 2007. Her third feature talvar (2015), based on the Aarushi Talwar murder case won much critical acclaim. Raazi is her most successful film commercially as well as critically.

The way Gajraj Rao very Rowan Atkinson like reacts to everything happening around him is a delightful act indeed. Mr Bean would be proud.

Vicky Kaushal, as the nerdy Kamlesh, is a revelation indeed. He goes toe-to-toe with Ranbir Kapoor in the film and has given his all to the role.

Surekha Sikri is delightful as the vitriolic mother-in-law who takes up for her bahu at a family wedding when the he relatives corner her for her supposed 'indecent’ behaviour.

The film’s music was inspired by Rajasthani folk and had classical elements as well. The songs paid homage to love, to romance in all its forms. Ghoomar and Binte dil stood out.

It isn’t easy to create an authentic patriotic song but to his credit not only Gulzar create one, he succeeds in turning it into a ghazal-qawwali fusion as well. And he does it all without resorting to jingoism.

Arijit Singh’s rendition of this patriotic song brings out strong feelings of love for one’s country but in an understated way, going against the grain of such anthems.

Ghoomar is a riot of emotions and Shreya renders them all bang on. It’s a song both about celebration and dance and has a touch of Rajasthani folk in it and Shreya captures it all perfectly.

Dimpy, a young, spunky woman, is fed-up of her husband Jeet’s dominating, possessive mother. So much so, that she boards the Hoshiarpur Express at Delhi Station, late one night, planning to go to her marital home in Kapurthala, pick her stuff up and return to her father’s home in Delhi. En route, a conversation with the young 22-year old co-passenger who shares the aisle berth of the AC II Tier compartment leads her to change the way she has been looking at Life. Then, she learns the truth about the young Army man who travelled with her and taught her that where there is Love and Understanding, there is always Acceptance.

Rogan Josh, set in the aftermath of 26/11 attacks. The dinner table conversation meanders to the shared experience of 26/11 and questions the quality of their existence after the life changing event.

This documentary sheds light on the feisty football journey of a small city, Kolhapur. This is a story of how a game played barefoot in the pockets of Kolhapur a century ago now draws more than 25,000 spectators for its local games. The passion for football here once extended beyond the ground, and guarded the unity among the people of this city. Be it playing with the Polish refugees after World War 2 or challenging the British troops for a game in 1936, Kolhapur's people have always had a hunger for football. This is an ode to the unsung history of Kolhapur's football, with the hope that if revered at a national level, it will do wonders for the social harmony and integration of the country as it once did for the city.

Maya wants to get married and has found the perfect match in Raunak but there is small hitch, her mother Meera whom she wants to stay with even after she is married.

An uncouth guy constantly orders home delivery. One evening while accepting a delivery, he is knocked out and wakes up to find himself tied to a chair and confronted by the apologetic delivery girl.

How does one prove that one loves one’s country? And should this love be questioned in the first place? These important and relevant questions are asked by Anubhav Sinha through his us story.

Sriram Raghavan and his writing team has turned Andhadhun into a delightfully dark comedy which kind of grabs you by the jugular in the first frame itself and refuses to let go.

It's the little humorous punchlines that make or break a comedy and Akshay has peppered the dialogue with liberal amounts of wit.

The various twists and turns in the film were lent an even pace by the editor, who also made sure that the action never slacked.

The boxing bouts are as real as they can be. The one featuring an actual boxer Neeraj Goyat keeps the audience rooted to their seats.

The film’s background score makes ample use of piano scores, using both jazz and Bollywood tunes to create a crescendo which compliments the film to a T.

The song is based on Rajasthani folk dance and the choreography brings the traditional elements alive in it’s interpretation. The intricate steps built up a storm of emotions.

Cinematographer Pankaj Kumar should be lauded for the haunting visuals encased in the film.

Manto’s story begins in pre-Partition Mumbai and ends in Pakistan and the film never sets a foot wrong in bringing to life the prevalent clothing choices of the era, not only for the central characters but also for the crowd scenes as well.

The film is set in a small hamlet, and it's story takes us to a bygone era. The props, vehicles, the architecture look and feel authentic.

It's a horror film at one level but also a coming-of-age story at another and the he sound design incorporates both elements.

The film is a VFX extravaganza alright. The various NASA sequences, especially the zero gravity scenes are truly out of this world.