From behind the camera to stealing the spotlight on screen, Kashyap’s unlikely second act is rewriting his cinematic legacy
It is rare in cinema for a filmmaker known for rewriting the rules of storytelling to surprise audiences not with his direction, but with his on-screen presence. Anurag Kashyap, celebrated for his raw and uncompromising films, has gradually built a reputation as one of India’s most intriguing filmmakers.
As he turns 53 on September 10, his story is no longer just about cult classics like Dev.D and Gangs of Wasseypur but also about menacing villains and layered characters he has portrayed with unexpected brilliance.
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Kashyap’s journey into films started modestly as a writer for Ram Gopal Varma’s Satya in 1998. He was quickly recognised as an enfant terrible of Indian cinema, known for projects that challenged censorship and convention. Paanch was never released, Black Friday was delayed for years, and No Smoking was famously misunderstood.
Over time, however, his vision found its audience. By the time Gangs of Wasseypur premiered in 2012, Kashyap had established himself as a cult auteur capable of blending sociopolitical commentary with compelling drama.
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Although he occasionally made cameos in his own projects, acting was never his main focus. That shifted when he started taking on full roles. His intense portrayal as a corrupt police officer in Akira (2016) signalled his desire to be more than just a behind-the-scenes provocateur.
A year later, he appeared in the Tamil thriller Imaikkaa Nodigal, holding his own against an ensemble cast. What had begun as experimentation was now beginning to resemble a parallel career.
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Not every step was perfect, but each one showed Kashyap's dedication to testing himself as an actor. His brief role in Leo (2023) might have been a small part, but it served as a reminder that he's willing to take risks and learn, even if he stumbles sometimes.
For someone whose directing career has seen its ups and downs, this detour only added to his intriguing reputation, making him even more unpredictable and interesting.
The real turning point arrived in 2024 with Maharaja. Sharing screen space with Vijay Sethupathi, Kashyap delivered one of his most disturbing performances as Selvam. What started as a supporting role turned into a star turn, especially in the film’s haunting climax.
Audiences who once admired him for Sacred Games, as a co-creator, now began sharing clips of him as an actor, analyzing his body language, his chilling restraint, and his ability to melt into a character.
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Kashyap’s performances are not polished in the traditional sense. He carries a rawness that reflects the aesthetic of the films he once directed. As an actor, he inhabits flawed, morally grey characters—menacing yet convincing. This makes him an asset in a landscape often dominated by formulaic heroes and villains.
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If Kashyap’s recent work is any indication, his second act as an actor might surpass his struggling years as a director. International filmmakers have already recognised this, with offers beginning to cross borders. For an artist often labelled as too radical for mainstream Bollywood, this late-career reinvention feels almost poetic.
And if his journey so far has taught us anything, it is that Anurag Kashyap is never finished surprising us.
