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AGEISM, STEREOTYPING AND PAY DISPARITY IN BOLLYWOOD

While Bollywood, masters of tokenism, has occasionally tried to counter ageism and stereotyping, it has mainly played safe, distancing itself w...

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FIFTY YEARS AFTER GARM HAVA

Garm Hava (1974) is undoubtedly the best Indian film to capture the pain of Partition that swept the Indian subcontinent, writes O.P. Srivastav...

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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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CONFLUENCE OR CONFLICT: SCREEN V/S STAGE

Monojit Lahiri attempts to explain how the screen and stage reside in two entirely different orbits with the only commonality ...

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Manasi Rachh: In the Spotlight

Aparajita Krishna traces actor, model Manasi Rachh’s interesting journey across theatre, films and now web-series.

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Mise en scene: a metaphysical expression

Sharad Raj writes that to arrive at one’s mise en scene is to liberate oneself from dogmas that are both personal and in...

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The apotheosis of the new wave: Jules et Jim

Godard’s Breathless and Truffaut’s Jules et Jim are the cornerstones of one of cinema’s most ...

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The Austere Ascetic

Sharad Raj visits the 1983 French film L’Argent (Money) and deconstructs the genius of the filmmaker Robert Bresson.&...

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Seijun Suzuki: Master of the Japanese Film Noir

The most traveled and hence the most influential of the film genres that evolved in Hollywood film studios is p...

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A pioneer, a frontierswoman at heart: Presenting Anupama Mandloi

One of the most significant outcomes of my having started The Daily Eye, which is an online publication specifically targeted to conte...

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