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UGETSU MONOGATARI: THE MIZOGUCHI TREASURE

The cinema of Kenji Mizoguchi glides in and out of people’s lives with fluid grace and exquisite tact, writes Sharad Raj...

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A PLEA FOR PEACE

Humra  Quraishi celebrates Sahana Ahmed’s book, Amity Peace Poems, and Shubha Menon’s Resilience: Stories of ...

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THE GERSON DACUNHA DIARIES

On the 7th of January, his first death anniversary, we remember Gerson Dacunha through one of his last conversations with Ni...

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MASKS ON, CARRY ON

Dr Kishore P. Madhwani writes on how not to worry and combat the possibility of the spread of the new COVID variant BF.7.

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THE TIMELESS CHARMER

Monojit Lahiri offers a personalized tribute to the charming actor Shashi Kapoor, whose good looks remain unmatched even today...

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Decoding the chemistry: Uttam-Suchitra

Satyabrata Ghosh discusses the symbioses between the people at the two ends of the camera during the filming and after it, whi...

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Bengali Cinema: A Middle Way to Tread

Satyabrata Ghosh explores the cinema of West Bengal to conclude how the median between art and commerce exists and has been of...

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Ballavpurer Roopkatha: A Director In-charge

Satyabrata Ghosh distinguishes between an assembly line process aimed to gain eyeballs from that, which enables cinema to rema...

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On Watching Ponniyin Selvan

Satyabrata Ghosh reviews PS-1, a Mani Ratnam film, and discusses why such alternate content is of prime importance at a time w...

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Eighty Cheers for the Towering Inferno!

Monojit Lahiri pays a personalized tribute to the Muqaddar ka Sikandar, the Shahenshah whose timeless aura and charisma, neith...

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