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KEECHAR VERSUS GULAL

Satyabrata Ghosh analyses the following words spoken by the Prime Minister of India in parliament: “Keechar uskey paas t...

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JAFAR PANAHI: STRUCTURE, AUSTERITY & SOCIAL CRITICISM

Sharad Raj discusses the cinema of Iranian filmmaker Jafar Panahi, his consummate understanding and command over time and spac...

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WE THE PEOPLE!

Humra Quraishi questions the whereabouts of missing children on Human Rights Day, and addresses what meaningless entertai...

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URMI JUVEKAR: The Storyteller

Aparajita Krishna deep dives to writer Urmi Juvekar’s life and journey as a creative force and returns from the immersiv...

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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...

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From King Lear to The Image Book: Jean-Luc Godard

The year was 1989, a print of Jean-Luc Godard's latest film, King Lear, an adaptation of William Shakespear's well known play was received by t...

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The Comic World Of Pierre Étaix

Vandana Kumar writes: ‘Le Grand Amour’ (The Great Love) 1969 is a French comedy that introduced me to its director...

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Her Fabulous 15

On the event of her birthday tomorrow (August 15), film historian Dhruv Somani selects the 15 most unforgettable performances ...

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MYTHWOMAN

Move over Amish. With the innovatively titled ‘Sati Series’, Koral Dasgupta is providing a much-welcome lens through which to look ...

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DOES WATCHING ART-HOUSE CINEMA RAISE YOUR SOCIAL STATUS?

Now that the Kolkata Film Festival is done and dusted, Monojit Lahiri does a checkout on this contentious issue.   Read More