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...

JAANE BHI DO YAARO: FOREVER IN RECALL!

Aparajita Krishna unplugs the cult classic that has already consumed generations left behind and will continue to enthral, del...

Decoding the chemistry: Uttam-Suchitra

Satyabrata Ghosh discusses the symbioses between the people at the two ends of the camera during the filming and after it, whi...

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...

Her Fabulous 15

On the event of her birthday tomorrow (August 15), film historian Dhruv Somani selects the 15 most unforgettable performances ...

PAST IS MY MASTER AND EVENING MY DAWN: VINAY SHUKLA

His film-work has been artistically selective and also across-genres, fairly mainstream, writes Aparajita Krishna.

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A DELIGHTFUL TAKE ON ART & CREATIVITY

In an age of brainless big-budget banalities, Rajat Kapoor’s new film is a deliciously unpredictable and thought-provoking exploration of...

When Disaster Strikes

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

SALUTING THE MEMORY OF THE EVERGREEN AWARA

Monojit Lahiri pays homage to India’s greatest showman, the one and only - Raj Kapoor.

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