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New Delhi: Oxford University Press, 2019; pp xx + 172, ` 895.   This book grapples with the relationship between post-globalisation Hindi cinema and the shifting geography of cities, the rising masculine anxieties and the disappearance of tangible hard differentials. Paunksnis wants to make sense of recent shifts in Hindi cinema and address the rationale behind ‘‘the pessimism and alienation most films are infused with’’ (p xiii). The operative period for his analysis begins in the 2000s when, he claims, ‘‘a period of euphoric joy regarding becoming global’’ turned dark and eerie (p xii), for a “highly diverse rhizomatic film form” to emerge (p 5). Unlike the claims about 

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