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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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RHYTHM’S CHOSEN CHILD

Here Sharada Ramanathan goes back and forth in time to understand the towering Tabla maestro Ustad Zakir Hussain’s geniu...

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KANTARA, GANGUBAI, KUNCHACKO BOBAN, ALIA BHATT RATED BEST OF 2022

Indian Film Institute (IFI) has announced its annual ratings of the best films and best male and female actors of 2022, reports The Dai...

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NOW GAJRA KOTTARY SPEAKS TO VIEWERS, READERS & LISTENERS

The versatile author and screenwriter Gajra Kottary spoke to Shantanu Ray Chaudhuri on the demands of an audi...

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DR BRIJESHWAR SINGH’S CALENDAR YEAR

Aparajita Krishna interviews Dr Brijeshwar Singh, one of the best known orthopaedic surgeons of Uttar Pradesh and understands ...

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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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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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THE OPTIMISTS - 2023

Vinta Nanda glides into the next year with this: I decided to focus on hope and confidence, on the positive i...

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MAHABALI: M. K. Raina’s Theatre!

Aparajita Krishna reviews the latest MK Raina play Mahabali and discusses its significance to these times when a distorted int...

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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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