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HARIPURA PANELS AND INDIA'S SOUL

Prof. Dr. Avinash Kolhe explores the iconic Haripura Panels by Nandalal Bose, currently exhibited at NGMA Mumbai, highlighting...

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BANDAR REMAINS CAGED IN AMBIGUITY

 Kashyap’s Bandar Rattles Loudly, Says Half Truths. Film critic Arnab Banerjee reviews Anurag Kashyap's Bandar, a pris...

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CANNES 2026 REVIEW: ELEPHANTS IN THE FOG

CANNES 2026 REVIEW: ELEPHANTS IN THE FOG

The Elephant in the Room – and Bey...

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BRECHT RETURNS THROUGH BENGALI THEATRE

In an era dominated by cinematic spectacle and digital distraction, writes Arnab Banerjee, a committed group of theatre practi...

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MAHOGATHA REVIVES MAHASHWETA DEVI’S LEGACY

Prof Dr Avinash Kolhe reviews Mahogatha, a powerful Marathi theatrical adaptation of three stories by Mahasweta Devi,...

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DAADI KI SHADI REVIEW ANALYSIS

Arnab Banerjee reviews Daadi Ki Shadi, examining its progressive premise, hesitant storytelling, uneven humour, and N...

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AI DISRUPTS CINEMA AND IDENTITY

As artificial intelligence reshapes cinema, actors confront the loss of control over identity, image, and livelihood, writes <...

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WAR WITHOUT VICTORY ONLY HUMAN COST

An estimated account of the recent US–Israel–Iran conflict reveals staggering human, economic, and psychological losses, raising ur...

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INDIA CENSUS 2027 INCLUSION CHALLENGES

Population Foundation of India calls for inclusive and secure approach to India’s first digital Census. As India begins Census 2027, conc...

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FILMMAKER PANKAJ BORA ON REALITY

“The reality is always richer than fiction” — says filmmaker Pankaj Bora to Utpal Datta. An...

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