STILL FACES RUN DEEP

Kamlesh Pandey harks back ten years and mines into an interview he did with Amitabh Bachchan, to bring his genius to fore and ...

Figuring out Chaddha

An essential quality of cinema is to portray moments that are transitory in human life, writes Satyabrata Ghosh in his take on...

A Requiem For Mayfair Cinema

English movies which essentially meant Hollywood films (Hollywood being the benchmark for “good cinema” catering to the English-spe...

Imagination: The fodder of existence

An analysis of Atanu Ghosh's Binisutoy (Without Strings, Bengali, 2021), by Dipankar Sarkar

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‘You Want Crorepati Glasses?’

It’s everywhere, on the streets, in living rooms, on cellphones and endorsement billboards. Khalid Mohamed writes on the...

Srijit Mukherji: A Filmmaker at a Crossroad

Three releases in a month, a fourth lined up. Is Srijit Mukherji spreading himself too thin? Shantanu Ray Chaudhuri ...

RISHI KAPOOR: THE MEMORABLE SECOND COMING

As the last film starring the beloved star, Sharmaji Namkeen, gears up for release, Shantanu Ray Chaudhuri looks at ...

Shifting Paradigms: Malayalam Cinema

Malayalam Cinema has evolved through time, writes Sulochana Ram Mohan. To use a cliché change has been the only constant in Malayalam ci...

The Indian ‘New Wave’ for the Millennial

Even though I use a lot of close ups, “Once upon a time, long, long ago…” should be the tone and tenor of this account from ...