Bollywood postmodernism is nothing new: Shah Rukh Khan stalked himself through the ultra-knowing Fan four years ago. What Kashyap and Motwane bring to the genre, assisted by Netflixâs hands-off approach to censorship, is a sharper edge. Motwane and co-writer Avinash Sampath slyly reference Taken, but a closer narrative precedent would be 1996âs The Fan, with Kashyap in the De Niro role of marginalised malcontent and his schemes updated for an image-saturated age. At one point Kapoor dashes into a police station, which rapidly fills up with officers keener to snap selfies with the actor than hear his complaint; when they do, itâs met with applause â the assumption being that their hero is rehearsing a monologue.