While Prakash Jha’s Rajneeti, which studies the equations of politics and various political parties, is the one most in the news these days, there are others, like Kunal Kohli and Dibaker Bannerji’s untitled which are both in scripting or casting stages.

Indian politics has begun to provide much food for thought to filmmakers since it affects the day-to-day lives of people.

Besides, our politics’ dependence on elements like caste, religion, classes and cultures increases the appeal. “It’s interesting to bring forward to the audience the unseen facets on politics,” says trade analyst Ashok Pandit. Ram Gopal Varma’s Sarkar had a mass appeal that stretched beyond Maharashtra — Shiv Sena’s stronghold — despite the rumours of it being loosely based on Balasaheb Thackeray’s life. This is probably because Amitabh Bachchan’s character Subhash Nagre had a human side to him too, a facet that the audience finds interesting.”

Anjan Dutt, whose BBD — a film that captures the equation of politics with crime in Kolkata to bring three disparate lives together — says that this topic never fails to entice the audience. “The interest that politics generates is evident from the TRPs of news channels. Metropolitan cities may seem somewhat diffident towards affairs of state but places like Kolkata, Lucknow and Bihar, where it decides your way of life, take it so seriously that your local paanwala is also clued in,” says Dutt.

Jha, on the other hand, feels that Indian filmmakers aren’t doing justice to the genre. “A political thriller need not be based on real-life incidents but should be able to reflect the landmark changes that certain political decisions caused in society. My Apaharan spoke about the industrialisation of crime and Gangaajal was about one Yadav killing another for power. Such bold films are hardly made in India.”

More often than not, prominent incidents and occurrences in real-life politics trigger their on-screen adaptation. As is the case with Sushen Bhatnagar’s Monica.

Using journalist Shivani Bhatnagar’s murder case, the filmmaker further explores the rise of a commoner into the throes of politics and his tussle to retain the power. “My film does not pass judgment on Shivani or what she did but uses it as a trigger to a larger, fictional plot. Monica is about the fine line that unfortunately exists between the four pillars of society — industry, media, politics and the judiciary.”