DEFENDING THE IDEA OF INDIA

Keeping in mind the objective to intervene in defence of diversity, pluralism, democracy, constitutional values and Justice, Anhad organised a ...

'Bust'ing many a myth: B 32 Muthal to 44 Vare (B 32 to 44)

Janaky Sreedharan asks, “How do we talk about a film that foregrounds the bust sizes of human beings ranging from B 32 t...

THE UNSETTLED SHADE

Vinta Nanda talks to filmmaker Neha Sharma about her documentary film NYBREUM and what it was that made her gravitate to the s...

CHICK TO CHIC: ARC OF THE INDIAN ADVERTISER

Monojit Lahiri checks out if today's Indian women are accurately portrayed by our adfrat or not?

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Bengali Cinema: A Middle Way to Tread

Satyabrata Ghosh explores the cinema of West Bengal to conclude how the median between art and commerce exists and has been of...

Ballavpurer Roopkatha: A Director In-charge

Satyabrata Ghosh distinguishes between an assembly line process aimed to gain eyeballs from that, which enables cinema to rema...

On Watching Ponniyin Selvan

Satyabrata Ghosh reviews PS-1, a Mani Ratnam film, and discusses why such alternate content is of prime importance at a time w...

DOES DAZZLING BEAUTY HIJACK TALENT?

Monojit Lahiri investigates the conundrum surrounding beauty and brains, in real and in real life, that has been going on...

The Comic World Of Pierre Étaix

Vandana Kumar writes: ‘Le Grand Amour’ (The Great Love) 1969 is a French comedy that introduced me to its director...