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OF SHARED DESTINIES AND FRACTURED BONDS

Film critic Saibal Chatterjee reviews Pritha Chakraborty's Phera, a deeply moving father-son drama that explores home...

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ANAND HI ANAND: PRESERVING CINEMA LEGACY

Writer and theatre practitioner Sohaila Kapur reflects on the creation and success of Anand Hi Anand, a unique theatr...

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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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MAA BEHEN STRUGGLES TO BITE

Arnab Banerjee reviews Maa Behen, Suresh Triveni's dark comedy starring Madhuri Dixit, Triptii Dimri, and Ravi Kishan...

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SATYADEV DUBEY: THE MAD GENIUS

Playwright, director, actor, mentor, provocateur and iconoclast, Satyadev Dubey transformed Indian theatre through sheer force...

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WHEN HOMECOMING ISN’T A ONE-WAY STREET

Saibal Chatterjee reviews Tribeny Rai's deeply personal and moving debut feature Shape of Momo, a nuanced exploration...

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KEDIA BROTHERS AND THE RARE RAGA

A deeply meditative rendition of Ustad Ali Akbar Khan's rare creation, Raga Chandranandan, by the celebrated Kedia Brothers tr...

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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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STUDENT CITY PART 5

In Prof Dr Piyush Roy’s Student City Part 5, a volatile night at a Pune B-School disc changes friendships, loyalties and...

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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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