In Vasan Bala’s Jigra (Courage) Alia Bhatt is Amitabh Bachchan. The suggestion seems both foolish and foolhardy, not least because both actors have disparate, almost contrasting, physicalities. They act differently, they react differently. And more crucially, a punch lands on them differently. If Bachchan in his youth stumbled upon being hit, then Bhatt crumples like a paper bag. If the former’s daunting presence intimidates the frame then the latter’s diminutive silhouette makes space for others. Alia Bhatt is nothing like Amitabh Bachchan yet Bala insists that she is, for she has the jigra.

The trailer of Jigra promised a coup too delicious to resist: Alia Bhatt as the Angry Young (Wo)man. At one point, Manoj Pahwa tells her, “Arre, [Amitabh] Bachchan nahin banna hai. Bach ke nikalna hai.” A stone-faced Bhatt replies: “Ab toh Bachchan hi banna hai.” This exchange hides loaded meanings: reverence (Bhatt, the best Bollywood actor right now, paying tribute to the best Bollywood actor of the ’70s), inversion (a heroine playing an anti-hero), and nostalgia (a drug always in short supply). There’s a bit of serendipity, too: the movie’s release date, October 11, coincides with Bachchan’s birthday.

Satya has been running from window to window in the anteroom of a maximum security prison. She’s desperate to see her brother before closing time, but there are forms to fill, procedures to follow. Finally, she ends up at the door to the visiting area, wheezing, frantic. The guard does her a kindness, says she isn’t late and will be let in soon. Satya catches her breath, but can’t wipe the worry off. “Do I look sad?” she asks the guard as she’s about to enter. “Little sad,” he replies in Malay-accented English. She puts on a strained smile. “Now?” The guard shakes his head. “Very sad, lah.”

Vasan Bala creates worlds that may appear deceptively similar to the ones you and I inhabit but run entirely on their own terms and whimsy. It’s a part of the film-maker’s charm and cinephile influences, which made the likes of Mard Ko Dard Nahi Hota and Monica O My Darling such a treat. Jigra, probably his most big-ticket project so far, is also his most sombre.

Most directors make you feel like you’re watching their film — their technical prowess, their intent, their voice, their commercial and arthouse ambitions. But directors like Vasan Bala make you feel like you’re watching their dreams come true. His movies aren’t shown, they’re shared. His craft isn’t flaunted, it’s realised. In Jigra, there are no shots, only fulfilled aspirations. There are no scenes and set pieces, only childhood memories. There is no action, only the physicality of emotion. There is no story, only the narrativisation of storytelling.

Perhaps Karan Johar, Alia Bhatt and director Vasan Bala, who co-writes with Debashish Irengbam, hope that nobody remembers Gumrah (1993), the Sanjay Dutt-Sridevi starrer which Mahesh Bhatt directed for Dharma Productions’ founder Yash Johar. In 1993, it was a besotted Sanjay Dutt who’d helped Sridevi break out of a Bangkok prison where she faced a death sentence after being framed by her boyfriend for drug trafficking. Bhatt had helped himself to the theme from the 1989 TV series Bangkok Hilton where an estranged father helps his daughter break out of a Bangkok prison in similar circumstances as Sridevi in Gumrah.