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The Oscar Rosters 2022 - A Post Hoc Analysis

A detailed, spoiler free analysis of Oscar nominees and winners, with commendations on why some won, and regrets on why some didn’t, by <...

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50 years of "The Godfather"

The Corleone’s and the poetry of Crime is what Sharad Raj examines after watching The Godfather for the nth time on the ...

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The uphill struggle to adulthood

A critical analysis of Rima Das’s Bulbul Can Sing (2018) by Dipankar Sarkar.

With h...

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Let the wilderness within you speak

In his second letter to readers, Philosophy Coach and Consultant at Universal Enlightenment & Flourishing, Christophe Porot&nb...

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Hey Guys, give brand LOVE a chance!

Catalyst, hidden persuader or gentle, deceptive brand statement, LOVE, Monojit Lahiri insists, is much more than a 4-letter wo...

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Our Film Festivals: Tamashas or reality checks

Monojit Lahiri investigates whether our film festivals are arty time-pass or educative game changers.  <...

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Making films is my coping mechanism: Shabnam Sukhdev

Here’s Vinta Nanda in conversation with documentary filmmaker Shabnam Sukhdev, who just completed her short film titled ...

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Shakespeare in Bollywood

Shakespeare travels, writes Farrukh Dhondy, in his piece on how well and how not so well the bard’s writing has been ada...

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Memories of an advertising man…

In this fascinating first-person-account, Monojit Lahiri, known for his Bollywood-driven opinion pieces, tracks the changing c...

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A look back at Mira Nair’s tale of Home: Mississippi Masala

Aditi Singh revisits the film Mississippi Masala, thirty years after its release, and recalls the metaphors of ‘home&rsq...

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