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When men change and repent: Cinema of Kenji Mizoguchi

Men are at loose ends without women to enslave, to desire, to abandon. Sharad Raj explores why the director is forgiving of th...

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Satyajit Ray: 10 Great Sequences

The films of Satyajit Ray have provided us with iconic moments that celebrate the many hues of life, all shot w...

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Frankly Speaking

Film historian Dhruv Somani, tracks down Ranjeeta, who had wowed the audiences with major hits like Laila Majnu, Ankhiyon ke J...

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Usha Dixit talks television

Aparajita Krishna singles out one of her most reticent but accomplished colleagues from the pa...

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Those Guilty Pleasures

Film historian Dhruv Somani, writes on those traditional mandatory things we sorely miss in the movies today.

The Joy of Photography

Khalid Mohamed in conversation with multi-media professional, indie-filmmaker and still photographer Arin Paul on how to see t...

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Reimagining Ambedkar

Ambedkar appears in many different ways in the ordinary life of Dalits, writes Badri Narayan&nbs...

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Signs of the times: Nothing’s right

Humra Quraishi says that the signs of fascism are spreading, yet as mute spectators we sit quiet and subdued.

How to go bonkers

Khalid Mohamed reviews Bollywood’s alleged ghost story Roohi, the Tamil super surprise packet Mandela… and the co...

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The Woman in White

Film historian Dhruv Somani re-assesses Raj Khosla’s iconic suspense-filled Woh Kaun Thi, produced by NN Sippy under his...

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