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AMITABH BACHCHAN AND THE ANGRY YOUNG MAN

One of the biggest box-office failures of the superstar’s career, Alaap boasts one of his subtlest performances and, arguably, the best m...

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Crime Drama, Women and Claude Chabrol!

Writes Vandana Kumar, “No one takes you away from one-dimensional morality while trying to fathom his women charact...

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Hate mongering and dreamy love songs

Humra Quraishi asks us how we can participate in assemblies of pleasure and write dreamy love songs, in this atmosphere of vio...

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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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What Bollywood can learn from Hollywood

Monojit Lahiri does a hard close-up at the changing attitudes of Hollywood stars toward Indie films and proposes that Bollywoo...

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A look back at Mira Nair’s tale of Home: Mississippi Masala

Aditi Singh revisits the film Mississippi Masala, thirty years after its release, and recalls the metaphors of ‘home&rsq...

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‘The Poetic Minimalism’ of Abbas Kiarostami

 Abbas Kiarostami (1940-2016) is unarguably the most known face of Iran on the map of World cinema, writes Vandan...

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CLASSIC HEIST: Six Films That Define the Genre

For a generation weaned on the high-tech-and-gizmo-aided heist of Steven Soderbergh’s Ocean Eleven or Dom Cobb’s equally SFX-aided ...

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The 400 Blows - Run Antoine Run!

Vandana Kumar revisits François Roland Truffaut’s film, The 400 Blows and finds resonance with the complex way ad...

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Sunil Shanbag: A Theatre Yatra!

Aparajita Krishna takes a deep dive into the life and theatre times of Sunil Shanbag and walks you through an interesting tell...

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