Whose normal is it anyway?

Vandana Kumar goes around John Cassavettes’ ‘A Woman Under the Influence’ and discusses how Independent Cine...

The Afterlife of Kudrat

Film historian Dhruv Somani, re-evaluates Chetan Anand’s take on reincarnation forty years later.

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Sign of the times: This is the darkest hour

Humra  Quraishi revisits her conversations with Saira Banu and Khushwant Singh, both of whom had predicted that the times...

Three Colours: Red - A celluloid poem

Mallika Bhaumik reviews Krztysztof Kieślowski’s Three Colours Red and reads the auteur’s mind while elucidating her own thoughts ...

A dog, a boy and a film: Musings on Kala

Janaky Sreedharan reviews the Malayalam film Kala (the unwanted) and raises questions on the obsession with violence and its d...

Signs of the times: India’s battle for its soul

Humra Quraishi looks back at the last seven years in India, through the lens of A.G. Noorani’s writings about the RSS an...

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...

Bees Saal Baad Revisited

Film historian Dhruv Somani, rewinds to the classic chiller, which continues to enthrall viewers of all generations, ever sinc...

How feminism works in rural India

Vinta Nanda explores how feminism works in rural India and the Grassroots Leadership Development Program of CORO India.  ...