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...

KEECHAR VERSUS GULAL

Satyabrata Ghosh analyses the following words spoken by the Prime Minister of India in parliament: “Keechar uskey paas t...

ANJUM RIZVI: FROM BEHIND THE SCENES!

Aparajita Krishna goes back to the past and fast forwards the producer Anjum Rizvi’s life in an interesting conversation...

YET ANOTHER STORY BESIDES PATHAAN

Satyabrata Ghosh explores why audiences at large today prefer to watch a franchise of a spy universe over a modern fairty-tale...

THE UNSETTLED SHADE

Vinta Nanda talks to filmmaker Neha Sharma about her documentary film NYBREUM and what it was that made her gravitate to the s...

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...

Memories of Underdevelopment

Sharad Raj writes, “Many consider Tomas Alea, the greatest filmmaker to emerge from Cuba and Memories of Underdevelopmen...

DOES DAZZLING BEAUTY HIJACK TALENT?

Monojit Lahiri investigates the conundrum surrounding beauty and brains, in real and in real life, that has been going on...

THE THESPIAN: SUREKHA SIKRI

Her repertoire of work in theatre in particular and then in television and films is vast, writes Aparajita Krishna

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