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DILIP KUMAR: THE BIG BURGLAR

Dilip Kumar burgles his way into the performance of every Indian actor of substance whether the actor likes it or not, writes Kamlesh P...

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A Quart of Ray

Ever since Satyajit Ray passed away, his works have made it to the screen in sterile, ineffectual adaptations. Netflix’s Ray corrects tha...

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Three Colours: Red - A celluloid poem

Mallika Bhaumik reviews Krztysztof Kieślowski’s Three Colours Red and reads the auteur’s mind while elucidating her own thoughts ...

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Hitchcock’s Shadow

Khalid Mohamed writes on the influence of the Master of Suspense on Bollywood movies, which was infinitely preferable to blood...

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A dog, a boy and a film: Musings on Kala

Janaky Sreedharan reviews the Malayalam film Kala (the unwanted) and raises questions on the obsession with violence and its d...

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Look back in affection

Film historian Dhruv Somani, rewinds to the year 1980, which witnessed a spate of hits and sparked its abiding romance with th...

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Satyajit Ray: 10 Great Sequences

The films of Satyajit Ray have provided us with iconic moments that celebrate the many hues of life, all shot w...

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That Poisonous Bite

Khalid Mohamed reviews the BBC-commissioned series The Serpent on Charles Sobhraj, approves he...

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Begums on top, or nearly

Khalid Mohamed reviews the flawed and yet commendable Begums of Bombay, finds 1962: The War in...

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Such a wonderful journey!!

Film historian Dhruv Somani, a self-confessed admirer o...

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