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ANKUR: THE SAPLING OF PARALLEL HINDI CINEMA

“In the early 1970s, a new class of population was emerging in India, which had started to get rid of the legacy of the past and reboot t...

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RANGAYAN ON THE JURY OF TWO SEATTLE FILM FESTIVALS

Sridhar Rangayan will screen three of his films at Tasveer South Asian Film Festival, also serve as jury. Besides that, he is member of jury at...

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पानइंडिया (PaanIndia!)

The history of Paan has mythological as well as historical and Ayurvedic references, writes Aparajita Krishna.

CHARLES DARWIN IS THE ENEMY

Satyabrata Ghosh juxtaposes the ritualistic inauguration of the new Parliament building in New Delhi on the 28th Ma...

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ALL ABOUT FRIENDSHIP

Dr. Ajanta Dutt highlights the pathos of a friendship between two boys - an unusual story, Dostojee, filmed in the backdrop of...

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WRITERS OF OBITUARIES

Humra Quraishi remembers time spent at Loreto Convent Lucknow and also recalls her invaluable conversations with, both, the la...

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The films of Maya Deren

Between MacGuffin and Transference is the empty signifier that carries her film ‘Meshes of the Afternoon’ forward, writes D...

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Claude Chabrol and The Poetics of Murder

My first exposure to the ‘French New Wave’, La Nouvelle Vague, was through Claude Chabrol’s Violette Nozière (1978). M...

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Scripting doomsday!

In the last few years, which were bedevilled with ambivalence, ambiguity and plain misunderstandings, statements of people in power or celebrit...

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Silence: The language of God

A piece of appreciation of Martin Scorsese’s 2016 epic historical drama Silence, by Berges Santok

&n...

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