A CONVERSATION OF PEACE AND HARMONY

Here, Vinta Nanda tells the story of Shabnam Hashmi, one among the millions of people who have, over the last 75 years, built a secular, democr...

HOW WILL I KNOW PEACE

Humra  Quraishi revisits the artist Satish Gujral and his words, as she tries to make sense of the polarisation and lack ...

TOLLYWOOD’S GIFTED ACTORS

Bengali cinema and filmmakers, though revered worldwide, still do not draw much attention within India. It may have to do something with the ov...

CHINTOO SINGH WASIR: CENTERSTAGE AS SUFI SINGER & MUSICIAN

In the world of contemporary Indian music Chintoo Singh Wasir has emerged from being behind the instruments to centerstage with his Sufi music,...

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...

IS IT TIME TO RECONSIDER THE TERM BOLLYWOOD?

Monojit Lahiri does a close–up of this tricky issue and reaches out to the readers now for a solution to the word Bollyw...

CHICK TO CHIC: ARC OF THE INDIAN ADVERTISER

Monojit Lahiri checks out if today's Indian women are accurately portrayed by our adfrat or not?

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THE ZEN NOT REACHED

Neil Banerjee looks at the Government’s vehicle scrapping policy, odd-even policy to fight pollution in Delhi, and demon...

Childhood, Holocaust and the Cinema of Louis Malle

Louis Malle’s semi-autobiographical 1987 film ‘Au revoir les enfants’ or ‘Goodbye, Children’ belongs to this rare...