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TOUCH OF JOY: JOY BIMAL ROY

I shall cherish the materializing of this article. The attempt is to visit the great cinema-maestro Bimal Roy through his son Joy Bimal Roy&rsq...

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SO MUCH OF DESTRUCTION!

Humra Quraishi revisits 1992 and the demolition of the Babri Masjid then, in context to the bulldozing of property without con...

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ACTOR with a CAUSE

Khalid Mohamed’s heartspeak with Atul Kulkarni, the actor of substance and spleen, who has lately been making waves with...

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Music Knows No Caste

After garnering critical acclaim and winning the FIPRESCI Award at the Bangladesh International Film Festival 2022, Bangladeshi filmmaker Shabn...

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Women in Cinema Collective: A Work In Progress

“An actress was a person who could never own herself,” writes Janaky Sreedharan in her piece about the role played...

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When Atul Met the Movies

Khalid Mohamed in conversation with India’s prime, contemporary artist, Atul Dodiya, on his unbreakable bond with art an...

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Revisiting Mani Kaul’s Mini-series Ahmaq

Devdutt Trivedi writes that in Ahmaq, Kaul wanted to underline the symbiotic relationship between Hinduism and Islam.

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In the land of the capitalists

‘Battleship Potemkin’ was premiered at the historic Bolshoi Theatre auditorium in Moscow on December 21, 1925, writes Monis...

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Signs of the time: For God’s Sake, Be Human!

This week Humra Quraishi questions politicians and lays out bare facts – about human rights and political mischief that ...

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Death of the language and a metaphor

Humra Quraishi expresses her anguish at the mindless violence and hatred spreading across India, which is also attacking the c...

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