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DILIP KUMAR: THE BIG BURGLAR

Dilip Kumar burgles his way into the performance of every Indian actor of substance whether the actor likes it or not, writes Kamlesh P...

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Rickshawala

After the critical success of Seasons Greetings, Ram Kamal Mukherjee is back with a loving ode to that hoary Kolkata institution - the hand-pul...

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Best Photographs of 2021

Khalid Mohamed, inspired by a selection of the award-winning photos from National Sony World Photography 2021 competition, wri...

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Gentleman Extraordinaire: Phani Majumdar

Rinki Roy Bhattacharya shares her experience of meeting Phani Majumdar, a filmmaker and man ex...

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Whose normal is it anyway?

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

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The Hairdresser’s Husband: Too Much of a Good Thing?

Vandana Kumar explores how a film like The Hairdresser’s Husband starts as a man’s...

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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...

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Bees Saal Baad Revisited

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

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Woh Sadhana thi

The cine-young living in the 60-year-old that I am, refuses to abandon my lingering fascination for actress Sadhana, writes Aparajita K...

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Signs of the times: Time to talk truth to power

Humra Quraishi’s commentary demands answers and accountability for the sufferings of innocent people and she insists tha...

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