Looking at Anurag Kashyap’s two-part saga Gangs of Wasseypur, which has now achieved cult status amongst audiences of mainstream Hindi cinema, this paper will attempt to study what may be called the emergence of certain newer modes of conceiving marginal masculinities in contemporary Bombay cinema and the aesthetic framing of these gendered articulations through an imagination of spectacular violence. The film is a narrative of relentless violence in a small suburb of Dhanbad called Wasseypur that remains seemingly unaffected by the significant political events in the life of the nation: independence, Partition, the national Emergency or the formation of the state of Jharkhand. Kashyap seems to suggest that this is a world that is yet to enter the realm of postcolonial modernity entirely. Subjected to the director’s almost anthropological gaze, it appears brutish, primeval, even primitive. What is the shape of masculinities in contest that emerges through the film’s visual imagination and its popular reception? How to articulate the questions of nation and community within a cinematic universe crowded with images of raw machismo and (anti) heroic violence? What is the struggle between the film’s sensorium and the political articulations it could have potentially become symbolic of? Is it possible to raise the question of collective rights and justice within this apparently “realistic” universe populated by marginalized and arguably “subaltern” men? In short, what shape does the idea of justice take within the very masculine cinematic expanse of Wasseypur?