THE MAGIC OF CHALTI KA NAAM HAI GAADI

Diamonds are forever. So are good movies. Comedy is a tough genre to handle, it requires extreme sensitivity, sense of timing and comprehensive...

PAVING THE WAY FOR QUEER INCLUSION IN INDIAN WORKPLACES

Addressing LGBTQIA+ workplace discrimination through inclusive policies, Anurag Kundu, Chairperson DCPCR, launched 3 short films highlighting exclusion in workplaces, repor...

ABOUT THE SONG OF SCORPIONS AND IRRFAN

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

The story of The Song of ...

JAFAR PANAHI: STRUCTURE, AUSTERITY & SOCIAL CRITICISM

Sharad Raj discusses the cinema of Iranian filmmaker Jafar Panahi, his consummate understanding and command over time and spac...

Decoding the chemistry: Uttam-Suchitra

Satyabrata Ghosh discusses the symbioses between the people at the two ends of the camera during the filming and after it, whi...

The Shalimar Adventure

Film historian Dhruv Somani rewinds to the 1978 heist thriller, the international co-production Shalimar, as its charismatic h...

The Comic World Of Pierre Étaix

Vandana Kumar writes: ‘Le Grand Amour’ (The Great Love) 1969 is a French comedy that introduced me to its director...

MYTHWOMAN

Move over Amish. With the innovatively titled ‘Sati Series’, Koral Dasgupta is providing a much-welcome lens through which to look ...

The Principle Of Sarva, Dharma, Sambhav

This week Humra Quraishi visits Ghalib and Mir, their poetry and arrives at the understanding of Sarva, Dharma, Sambhav throug...