ABOUT THE SONG OF SCORPIONS AND IRRFAN

Irrfan Khan’s only real home was cinema, says Anup Singh.

The story of The Song of ...

FIFTY YEARS AFTER GARM HAVA

Garm Hava (1974) is undoubtedly the best Indian film to capture the pain of Partition that swept the Indian subcontinent, writes O.P. Srivastav...

NOT ABOUT SWASH-BUCKLING AND SWORD-SWINGING HEROES

Here’s an interview of Dr Shoma A. Chatterji, about her latest book ‘Through the Lens, Brightly: Women in Cinema, Women at Work&rsq...

CAN MODELS…ACT??

Monojit Lahiri attempts to check out the blur between acting the art, and acting the glamour touch given to Bollywood cinema -...

A FIRST DAWN BY SHARADA RAMANATHAN

Vidivaanam (a first dawn) explores a deeper reflection of very basic concern for our very existence through music, movement and verse, reflects...

ARUNDHATI GANORKAR: IN BEAUTIFUL REFLECTION!

Aparajita Krishna has a past with Arundhati Ganorkar, they worked on a series, and together, they walk down memory lane to bri...

SHAKESPEARE & BOLLYWOOD – JAB THEY MET!!

Manojit Lahiri takes you on a fascinating journey where hamlet and omelet often clash!

Ch...

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...