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IDENTITY, IDENTIFICATION AND THE FUEL OF TIME’S FURNACE
Humra Quraishi writes, “It’s August and focus is on Kashmir. On 5 August 2019, the status of Jammu and Kashmir was altered by revok...
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NEED FOR EQUITABLE GENDER REPRESENTATION IN HINDI CINEMA
A new research report by the School of Media and Cultural Studies at the Tata Institute of Social Sciences, Mumbai, reveals that on-and-off-scr...
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TOPS GLOBALLY. FLOPS LOCALLY.
Monojit Lahiri explores why films, which receive acclaim at International film festivals are unable to convert their critical ...
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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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Decolonizing The Caste Question
Vanshika Bhagat discusses the present status of Dalit converts to Islam and Christianity vis-a-vis reservation, which endeavor...
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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...
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KANWALJIT SINGH: Life & Roles!
Aparajita Krishna tells you all about the tall, handsome actor Kanwaljit Singh in this unputdownable interview with him.
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The Master: A Documentary
Vinta Nanda chats with Khalid Mohamed on the eve of a screening of his documentary film on Shyam Benegal, at the NCPA auditori...
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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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ILA ARUN: GIVING VOICE TO LIFE
Ila Arun is a woman of many parts and one who is in command of all of them. She has a contagious zest for life, writes Aparajita Krishna <...
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