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THE NEW BUSINESS OF ENTERTAINMENT

When Brands Become The Storytellers: The New Business Of Entertainment: Vinta Nanda explores how brands, technology, c...

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IS FACE FUZZ TRENDING NOW?

Are men really back today, and what does facial hair say about modern masculinity? Monojit Lahiri explores how changing workplace cultu...

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THEATRE AND THE POWER OF INCLUSION

The World’s A Stage And We, The Performers: Sohaila Kapur interviews Anirudh Nair on theatre, Shakespeare, social privilege and B...

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PYRE: A PORTRAIT OF ABANDONMENT

Where the Mountains Stand Witness to Lives Left Behind: Arnab Banerjee examines Vinod Kapri’s Pyre, a moving por...

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AAKHRI RIDE: MUMBAI AFTER DARK

Arnab Banerjee reviews Aakhri Ride, a Mumbai-set short that blends urban noir, dark comedy and supernatural horror while tracing a migrant driver’s d...

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EK HAAN BRINGS MANTO ALIVE

Manto in Pakistan by Prof Dr Avinash Kolhe: A review of Ek Haan, the Hindi-Urdu play that brings Saadat Hasan Manto’s wit, writin...

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DIWALI IS SERVED WITH LOVE

What Does It Mean to Eat Sustainably During Diwali? Diwali is as much about food as it is about light. Exploring India's rich ...

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HAS SOCIAL MEDIA HIJACKED STARDOM?

Monojit Lahiri explores how Bollywood’s old-world star mystique has been transformed by social media, celebrity culture and publi...

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V. SHANTARAM: CINEMATIC LEGACY REMEMBERED

SHANTARAM: CINEMATIC LEGACY REMEMBERED

The quasquicentennial Birth Anniversary o...

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UDTA TEER REVIEW: STAR CAST DISAPPOINTS

Udta Teer, starring Ayushmann Khurrana and Sara Ali Khan, attempts to turn Indo-Pakistani espionage into a farcical comedy. Reviewed by...

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