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‘GOOD JOB NELIIMA!’

Aparajita Krishna has this power-packed conversation with Neliima Azeem - she calls her ‘a very consummate and individua...

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'Bust'ing many a myth: B 32 Muthal to 44 Vare (B 32 to 44)

Janaky Sreedharan asks, “How do we talk about a film that foregrounds the bust sizes of human beings ranging from B 32 t...

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UGETSU MONOGATARI: THE MIZOGUCHI TREASURE

The cinema of Kenji Mizoguchi glides in and out of people’s lives with fluid grace and exquisite tact, writes Sharad Raj...

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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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THE OPTIMISTS - 2023

Vinta Nanda glides into the next year with this: I decided to focus on hope and confidence, on the positive i...

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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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WOMEN OF STEEL

Some among us could be talking about the conditions of prisons in the country, and the various challenges faced by inmates, but only a handful ...

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 Is religion a boon or bane?

The festive seasons have begun and it is the right time to ask this important question. People speak to Monarose Sheila Pereira Read More

A Border Love Story

Khalid Mohamed narrates the bittersweet tale of meeting his aunt, the major Pakistani filmstar Zeba Ali and her equally famous...

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PAST IS MY MASTER AND EVENING MY DAWN: VINAY SHUKLA

His film-work has been artistically selective and also across-genres, fairly mainstream, writes Aparajita Krishna.

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