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DILIP KUMAR: THE BIG BURGLAR

Dilip Kumar burgles his way into the performance of every Indian actor of substance whether the actor likes it or not, writes Kamlesh P...

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Signs of the time: Stories of Muslim Youth

Humra Quraishi shares her views on the stories of Muslim youth falsely implicated, the talks between the leaderships of Kashmi...

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The Afterlife of Kudrat

Film historian Dhruv Somani, re-evaluates Chetan Anand’s take on reincarnation forty years later.

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Mise en scene: a metaphysical expression

Sharad Raj writes that to arrive at one’s mise en scene is to liberate oneself from dogmas that are both personal and in...

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Reimagining Ambedkar

Ambedkar appears in many different ways in the ordinary life of Dalits, writes Badri Narayan&nbs...

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Oh, those snakes and ladders

Khalid Mohamed reviews the politics-as-usual drama Madam Chief Minister, is brain-boggled by Qubool Hai 2.0 and finds sol...

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Days of the future past: Subhashini Ali

Subhashini Ali recalls a time when she saw the role of the police and administration with clarity and how she was convinced of...

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Gup-shup with GoPu

Noted academic, playwright, writer Govind P Deshpande (2nd August 1938 – 16th October 2013) was be...

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The Good Story And The Bad Story

Vinta Nanda reflects on discussions surrounding the OTT guidelines announced by the government of India

Zohnerism: The Art of selective communication

Dr. Sandeep Goyal explores the art of selective communication during this post truth era, the times in which it’s diffic...

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