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...

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 ...

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...

Sculpting in Time

Sharad Raj revisits Tarkovsky’s film Mirror (Russian), released in 1975 and he expresses, in this piece, its art, aesthe...

Bollywood’s leap out of the closet

“It is an old stereotype, that homosexuality has to do only with sex while heterosexuality is multifaceted and embraces love and romance....

A Muslim in Bollywood

The mainstream Hindi film industry’s template for the community reflects ideological and political shifts in contemporary India.

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Well-behaved women rarely make history

Mona Ambegaonkar is an Indian film and television actress. She has featured in over 15 plays, 18 feature films, 38 T...

The Staging of DEEWAR in India 2018

Prithvi Theatre opened to the public on a day in 1978, forty years ago. It is today an address that apart from being ...

9th Jagran Film Festival creates a Deeper Cinematic Impact on People

The day 2 of the 9th Jagran Film Festival continued to receive warmth and applauds by its audience. T...