Vivek Agnihotri Blasts Bollywood Actors For Allowing ‘Fashion Taking Over Films At Cannes’, Calls Out Lack Of Spine

Filmmaker Vivek Agnihotri, known for movies like “The Tashkent Files,” “The Kashmir Files,” and “The Delhi Files,” has criticized Bollywood actors for prioritizing fashion over films at the Cannes Film Festival. Agnihotri argues that the festival should primarily showcase films rather than serving as a platform for fashion. His comments follow his earlier tweet, which received backlash from several celebrities. Agnihotri further explains his perspective on the matter.

Cannes Film Festival: A Fashion Show or a Platform for Films?

Filmmaker Vivek Agnihotri has expressed his disappointment with Bollywood actors for allowing fashion to take precedence over films at the Cannes Film Festival. Agnihotri criticizes their silence on the matter, attributing it to their involvement in brand promotions. He highlights the presence of social media influencers on the red carpet and emphasizes the need for Cannes to focus on significant and original pictures. Agnihotri hopes for better judgment in the future editions of the festival.

During his visit to Cannes to promote his movie “The Tashkent Files,” Agnihotri observed that the festival has become more focused on fashion rather than films. He highlights how fashion models, actors, and influencers wearing unconventional costumes took the spotlight on the red carpet, overshadowing renowned actors and directors who were being ignored or pushed around. Agnihotri questions the silence of Bollywood actors on this issue and suggests that they are occupied with brand promotions, unable to voice their opinions. He believes that Bollywood actors have transitioned into social media influencers and prioritize personal branding over their acting careers.

Influencers’ Impact on Cannes and Audience Expectations

Agnihotri finds it strange and unfair that several social media stars made their debut on the red carpet at the 76th Cannes Film Festival. He argues that their presence is unrelated to feature films and detracts from the festival’s central theme. This development, in his view, diminishes the festival’s significance and confuses the audience. Agnihotri emphasizes that the festival should focus on showcasing bold, original, and controversial films that may not otherwise receive mainstream platforms. He hopes for better judgment in the future and a return to Cannes’ original purpose.


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