IDENTITY, IDENTIFICATION AND THE FUEL OF TIME’S FURNACE

Humra Quraishi writes, “It’s August and focus is on Kashmir. On 5 August 2019, the status of Jammu and Kashmir was altered by revok...

NEED FOR EQUITABLE GENDER REPRESENTATION IN HINDI CINEMA

A new research report by the School of Media and Cultural Studies at the Tata Institute of Social Sciences, Mumbai, reveals that on-and-off-scr...

THE MAGIC OF CHALTI KA NAAM HAI GAADI

Diamonds are forever. So are good movies. Comedy is a tough genre to handle, it requires extreme sensitivity, sense of timing and comprehensive...

A FERRIS WHEEL GOING AROUND

Humra  Quraishi questions the mindless lynching’s of Indian Muslims on mere suspicion of the carrying beef, althoug...

PAINTING THE TOWN RED: VANI TRIPATHI TIKOO

Vinta Nanda talks to Vani Tripathi Tikoo about her recently published book, Why Can’t Elephants Be Red?, and about other things.

Akku, the pr...

Two-in-one

Film historian Dhruv Somani tracks the double-pronged career of Feroz Khan, as an actor and director of tremendous s...

WHO’S AFRAID OF FILM CRITICS?

Monojit Lahiri does a checkout on the significance of film reviews and how they pan out differently for serious cineastes from...

BOLD AND BEAUTIFUL

Film historian Dhruv Somani, a loyal fan of Sushmita Sen, retraces her  estimable career, as her birthday approaches on N...

Ballavpurer Roopkatha: A Director In-charge

Satyabrata Ghosh distinguishes between an assembly line process aimed to gain eyeballs from that, which enables cinema to rema...