On Watching Ponniyin Selvan

Satyabrata Ghosh reviews PS-1, a Mani Ratnam film, and discusses why such alternate content is of prime importance at a time w...

HIDAYAT SAMI: Spotlighted!

It’s Hidayat Sami who Aparajita Krishna meets today to explore his vast repertoire as an actor, director, light-designer...

The Oscar Rosters 2022 - A Post Hoc Analysis

A detailed, spoiler free analysis of Oscar nominees and winners, with commendations on why some won, and regrets on why some didn’t, by <...

The uphill struggle to adulthood

A critical analysis of Rima Das’s Bulbul Can Sing (2018) by Dipankar Sarkar.

With h...

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...

Rogue Thinker

Khalid Mohamed’s never-before published interview with the dogged rule-breaker, Ram Gopa...

Pravesh Sippy: Never in Dire Straits

Water of love deep in the ground/But there ain’t no water here to be found/Some day baby when the river runs free/It's gonna carry that w...

Imagine Norman Bates’s Kolkata cousin as a paying guest in your home

Shantanu Ray Chaudhuri reviews Bengali streaming platform, Hoichoi’s much-publicized psychological horror Mohomaya