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KALEIDOSCOPE: QUEER VOICES FROM THE PERIPHERY

Utpal Datta makes a sensitive attempt to hear the unheard ‘third voice’ and reviews Dr Kaustubh Padmapani’s ...

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THE COURAGE AND CONVICTION OF SAIF HYDER HASAN

After seeing the film YES PAPA, story of a victim of child sexual abuse at the hands of her father, Vinta Nanda has a conversa...

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AUTUMN BLOSSOMS: OF MOTHERHOOD & OTHER RELATIONSHIPS

The 50 stories in this collection, divided into three sections, deal with woman protagonists coping with the vagaries of relationships with men...

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AMIT KHANNA’S JOURNEY AS A LYRICIST

 

Shantanu Ray Chaudhuri goes past many of Amit Khanna’s talents and brings fo...

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MADHURI DIXIT STARRER MAJA MA AT KASHISH 2023

The film Maja Ma will screen on Friday June 9th at 7:45 pm at Liberty Cinema with the cast and crew present for a Q&A, reports The ...

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THE BURDERNED OF TRUTH ON SILENCE

I’m writing this column in the backdrop of the film, The Kerala Story. It is not just controversial, it can polarise and divide, writes <...

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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...

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WE THE PEOPLE!

Humra Quraishi questions the whereabouts of missing children on Human Rights Day, and addresses what meaningless entertai...

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That Year of The Other Woman

Film historian Dhruv Somani flashbacks to the year 1980, when the subject of ‘the other woman’ was no longer consi...

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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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