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DID PATHAN’S MONSTER SUCCESS DILUTE THE ‘CONTENT IS KING’ MANTRA?

Monojit Lahiri investigates the on-going discussion about what is ‘king’ – the content or the star, by takin...

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When Disaster Strikes

Film historian Dhruv Somani re-visits Yash Chopra’s Kaala Patthar (1979), based on the true-life Chasnala coal-mining tr...

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SAFELY NAVIGATING THE FOURTH SURGE

Dr Kishore Madhwani responds to questions as cases of COVID-19 have been skyrocketing in the country over the last two weeks.<...

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The Oscar Rosters 2022 - A Post Hoc Analysis

A detailed, spoiler free analysis of Oscar nominees and winners, with commendations on why some won, and regrets on why some didn’t, by <...

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KAMLESH PANDEY: Ballia to Bollywood via Ishtihaarpur

Aparajita Krishna goes with adman, writer Kamlesh Pandey on a long walk through his life and career, bringing back beautiful m...

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Shakespeare in Bollywood

Shakespeare travels, writes Farrukh Dhondy, in his piece on how well and how not so well the bard’s writing has been ada...

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Hrid Majhare: The Bard’s Official ‘Debut’ in Bengali Cinema

In the series on landmark Bengali films post 2000, Shantanu Ray Chaudhuri looks at Ranjan Ghosh’s adaptation of Shakespe...

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Lal Ghaas Par Neela Ghodha: The Irrfan I knew

Irrfan became a regular visitor to FTII campus and therefore a participant in many “daru” and &ldqu...

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How to combat the coronavirus right now

Dr. Kishore Madhwani writes on everything you must know today with the nation’s ongoing tireless vaccine drive and how w...

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The Legend Of Bhai Dooj

In this piece adapted from hearsay, Vinta Nanda writes that Bhai Dooj also has a story to follow.

For Hind...

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