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Adil Hussain: The Uncrowned Czar of independent cinema

Sharad Raj walks you through his experience of working with the actor par excellence Adil Hussain.

The Hairdresser’s Husband: Too Much of a Good Thing?

Vandana Kumar explores how a film like The Hairdresser’s Husband starts as a man’s...

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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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Mise en scene: a metaphysical expression

Sharad Raj writes that to arrive at one’s mise en scene is to liberate oneself from dogmas that are both personal and in...

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When men change and repent: Cinema of Kenji Mizoguchi

Men are at loose ends without women to enslave, to desire, to abandon. Sharad Raj explores why the director is forgiving of th...

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Climates: A metaphor for changing human behavior

Since the time of Ataturk, Turkey has been home to westernized intellectuals, writes Sharad Raj ...

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Just another brick in the wall

Niraj Jani, rock music enthusiast, writes on Pink Floyd’s cautionary songs about the constant vigil for intellectual fre...

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Oh, those snakes and ladders

Khalid Mohamed reviews the politics-as-usual drama Madam Chief Minister, is brain-boggled by Qubool Hai 2.0 and finds sol...

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Bengali Film Review: Dictionary

Well-known playwright, theatre activist/director, and film-maker/actor Bratya Basu’s film is well-intentioned but suffers from a muddled ...

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The apotheosis of the new wave: Jules et Jim

Godard’s Breathless and Truffaut’s Jules et Jim are the cornerstones of one of cinema’s most ...

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