The Master: A Documentary

Vinta Nanda chats with Khalid Mohamed on the eve of a screening of his documentary film on Shyam Benegal, at the NCPA auditori...

Imagination: The fodder of existence

An analysis of Atanu Ghosh's Binisutoy (Without Strings, Bengali, 2021), by Dipankar Sarkar

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KAMLESH PANDEY: Ballia to Bollywood via Ishtihaarpur

Aparajita Krishna goes with adman, writer Kamlesh Pandey on a long walk through his life and career, bringing back beautiful m...

The Poetry of the Quotidian of Aki Kaurismäki

Vandana Kumar writes, “To think of Finnish cinema, is to think of Aki Kaurismäki. Apparently, this perception isn&r...

Our Film Festivals: Tamashas or reality checks

Monojit Lahiri investigates whether our film festivals are arty time-pass or educative game changers.  <...

The Indian ‘New Wave’ for the Millennial

Even though I use a lot of close ups, “Once upon a time, long, long ago…” should be the tone and tenor of this account from ...

Taboo Love and the Sensibility of Agnès Varda

Her cinema played with subversive and controversial subjects even as she kept up her engagement with the political environment of her times int...

Silence: The language of God

A piece of appreciation of Martin Scorsese’s 2016 epic historical drama Silence, by Berges Santok

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Tara ra pomp pomp

Khalid Mohamed attends The Big Day weddings, listens in to Martin Scorsese’s docu-interview with Fran Lebovitz and&helli...