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TELEVISION: WHISPERS OF THE WHITE DESERT

This fifth and final chapter of Surabhi Diaries by Suhail Tatari captures Kutch in all its raw beauty—its culture, its c...

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BOLLYWOOD: WHEN HISTORY MEETS HISTRIONICS

Using violence, it feeds into the stereotype, The Bengal Files weaponizes memory and history, turning past wounds into present propaganda, ampl...

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THOUGHT FACTORY: RONA MANA HAI!!

Monojit Lahiri wonders whether, in an age when the price of everything is skyrocketing, the role, relevance and value of grief...

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POWERFUL PEOPLE: NEXT ACT, DEFYING PATRIARCHY

Khalid Mohamed interviews actor and former supermodel Dipannita Sharma on toxic Bollywood dynamics, gender politics, and her p...

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TRENDING: GAJRA KOTTARY’S STORYTELLING JOURNEY

Gajra Kottary, screenwriter and author, balances the demands of Indian television with profound novels and short stories, challenging social no...

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BOLLYWOOD: THE GIANT CALLED RAHUL RAWAIL

The box office failure of Dacait was perhaps the single biggest reason for Rahul Rawail to never be the same filmmaker again. He tried coming b...

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BADHTI KA NAAM DADHI: THE NEW TREND OF FACE FUZZ!

Monojit Lahiri borrows the title of the genius Kishore Kumar’s goofy satire from the classic ‘Chalti Ka Naam Gaadi...

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XBB1.16 VARIANT– THE NEW SUPER SPREADER

Dr Kishore P Madhwani writes: India, in spite of  acquiring a high coverage of primary COVID vaccination (97%) and its second dose (90%), the precauti...

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JAFAR PANAHI: STRUCTURE, AUSTERITY & SOCIAL CRITICISM

Sharad Raj discusses the cinema of Iranian filmmaker Jafar Panahi, his consummate understanding and command over time and spac...

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A NOT SO QUIET PICTURE

Humra Quraishi questions the deliberate seeding of hate among different communities in India, which have lived in harmony for ...

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