That said, similar to India's "parallel cinema" (as opposed to mainstream/commercial) movement in the 1950s-1960s, another new wave started slowly in the late-1990s. What is markedly different about this current wave is that it doesn't eschew mainstream Bollywood tropes in the interests of realism and naturalism. What we're seeing now is more a fascinating blend of the typical Bollywood love story or thriller with more plausible narrative, plot, and character development -- resulting in both an upending of tired tropes and a renewed focus on unique, thought-provoking storytelling, while still providing both engagement and entertainment. It is even more encouraging and commendable that these movies are being made despite India's terribly rigid film censorship regulations, and despite the traditionally insular and dynastic moviemaking industry that Bollywood has been for decades.
When it is all over, her family will come over from India. Parents and two sisters. Fractal images of your lover, they will tell you she had been a troubled child; you are not to feel responsible for what happened. You will not feel sorry for them because you will be too busy feeling sorry for yourself. Her father will assess you from that distant, universal refuge: a watchful silence. His compact and swarthy frame will be so unlike Kay’s.