Imtiaz Ali Says Love Aaj Kal 2 Did Not Have a Genuine Story For A Sequel, Emphasises the Importance of Original Films

Filmmaker Imtiaz Ali believes that sequels should emerge from a filmmaker’s original vision rather than being made simply because a film has performed well at the box office. Reflecting on why Love Aaj Kal 2 did not work as expected, the director explained that a sequel needs a substantial story to tell. He also highlighted how Hollywood franchises such as Batman and Star Wars benefited from long-term planning, stressing that filmmakers should ideally have a clear vision for all instalments from the beginning.

“I think the approach should be that if you are creating a three-part film series, the plan for the first, second, and third parts should be in place from the very beginning. It shouldn't be a case of ‘the film did well, so now I'll make a second part’—that’s just a marketing trick, not a filmmaker's original vision. That said, there’s nothing wrong with what people call a ‘franchise.’ There’s nothing wrong with it, but there has to be something substantial to say. I feel that I would only make a sequel to a film if there was a genuine story to tell; that usually happens quite coincidentally. As you noted, that didn't quite happen in the case of Love Aaj Kal. That’s why I believe in the value of original films. Regarding a trilogy like Batman—or Star Wars, which dates back to a time before my era—the creators knew from the very beginning that they were making three parts; they planned the first, then the second. So, I think that kind of pre-planning is important,” Imtiaz said.

The filmmaker shared his views while closing the star-studded Celebrate Cinema Festival 2026 at Whistling Woods International (WWI) in Mumbai. Held on October 9, the concluding session took place at 4:30 pm in the WWI Auditorium, bringing the three-day festival to a close. Moderated by veteran filmmaker Subhash Ghai, the masterclass featured Imtiaz alongside cinematographer Sylvester Fonseca. The two discussed their collaborative project, Main Vaapas Aaunga, while exploring the enduring importance of traditional storytelling and the big-screen experience.

During the session, Imtiaz also spoke about the role social media plays in promoting films and connecting them with audiences. Acknowledging its advantages as well as its drawbacks, the filmmaker explained that social media has become an integral part of contemporary life, making it difficult to imagine a world without it. However, he cautioned against excessive distraction and the habit of endlessly scrolling through online content without focusing on one's work.

“I actually feel that social media has many benefits. You can't even imagine life without social media these days. When we say the ‘good old days’ were great—well, there were many things missing back then. However, social media has its downsides too. If a person stays constantly distracted, fails to focus on their work, and just engages in what’s called ‘doomscrolling,’ that’s not good. But I feel that, yes, thanks to social media, word spread that I would be returning. And while the film was still in theaters, audience members voluntarily went on social media to tell their friends and followers to go watch it; that’s how people saw it, and the film became a box-office success. Social media was obviously a major vehicle for this—I can't deny that—so, as I was saying, there are many very positive aspects to social media,” he said.

Imtiaz's comments highlighted how social media can influence a film's reach when audiences actively recommend it to others. He acknowledged that online conversations helped spread the word about his return and encouraged people to watch the film while it was still playing in theatres. For him, social media can be a powerful promotional tool, provided its benefits are not overshadowed by the distractions it can create.

The director's remarks on sequels also underline his belief that a film's continuation must be driven by storytelling rather than commercial considerations alone. While he does not rule out franchises, he believes that filmmakers should have something meaningful to explore before extending an existing story. His perspective puts the emphasis on creative intent and careful planning, with original storytelling remaining central to the filmmaking process.

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