Claude Chabrol and The Poetics of Murder

My first exposure to the ‘French New Wave’, La Nouvelle Vague, was through Claude Chabrol’s Violette Nozière (1978). M...

Game Changer, Marketer, Entertainer, Interpreter: The Film Critic

Monojit Lahiri investigates through the incisive commentary of critics as well as filmmakers, what film reviews and film criti...

Taboo Love and the Sensibility of Agnès Varda

Her cinema played with subversive and controversial subjects even as she kept up her engagement with the political environment of her times int...

Hrid Majhare: The Bard’s Official ‘Debut’ in Bengali Cinema

In the series on landmark Bengali films post 2000, Shantanu Ray Chaudhuri looks at Ranjan Ghosh’s adaptation of Shakespe...

Silence: The language of God

A piece of appreciation of Martin Scorsese’s 2016 epic historical drama Silence, by Berges Santok

&n...

BAISHE SRABON: Dead Poets’ Society

In the series on landmark Bengali films post 2000, Shantanu Ray Chaudhuri looks at Srijit Mukherji’s genre-bending noir ...

Half a lifetime: Rahul Vohra

It’s a dress-circle view that Vinta Nanda brings,...

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...