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HOW WILL I KNOW PEACE

Humra  Quraishi revisits the artist Satish Gujral and his words, as she tries to make sense of the polarisation and lack ...

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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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KANTARA, GANGUBAI, KUNCHACKO BOBAN, ALIA BHATT RATED BEST OF 2022

Indian Film Institute (IFI) has announced its annual ratings of the best films and best male and female actors of 2022, reports The Dai...

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THE CALM BEFORE THE STORM

Humra Quraishi talks about the apprehension that clouds not just the largest minority community, the Muslims, but also the cit...

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“ME & HOUSE WORK? ARE YOU NUTS ???”

Monojit Lahiri zeros in on the pampered Indian male. He asks, “Is Incredible India really all that incredible? Is Mera B...

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Childhood, Holocaust and the Cinema of Louis Malle

Louis Malle’s semi-autobiographical 1987 film ‘Au revoir les enfants’ or ‘Goodbye, Children’ belongs to this rare...

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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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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...

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Decolonizing The Caste Question

Vanshika Bhagat discusses the present status of Dalit converts to Islam and Christianity vis-a-vis reservation, which endeavor...

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STILL FACES RUN DEEP

Kamlesh Pandey harks back ten years and mines into an interview he did with Amitabh Bachchan, to bring his genius to fore and ...

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