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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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Satyajit Ray: 10 Great Sequences

The films of Satyajit Ray have provided us with iconic moments that celebrate the many hues of life, all shot w...

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The Unforgettable One

On her 72nd birth anniversary, film historian Dhruv Somani, looks back with affection at the most impactful films of Parveen B...

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More than a woman: Gajra Kottary

Vinta Nanda grabs an opportunity to talk to author and screenwriter Gajra Kottary about her work and also her latest release N...

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Sign of the Times: Tyranny is simply tyranny!

Humra Quraishi discusses the state of eternal damnation, which those who are released after having spent years of imprisonment...

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Lights! Action! Politics

While the coronavirus rages on, Khalid Mohamed checks o...

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The Cinema of Tengiz Abulnadze

All of Abulnadze’s important films especially his much acclaimed The Georgia Trilogy exemplify the key fe...

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Madhumati: A classic revisited

Film historian Dhruv Somani flashbacks to Bimal Roy’s classic ghost story, which continues to be mint-fre...

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A Portrait in words and pictures: Seema Kapoor

Isolation amidst the tranquillity of the scenic environs of Jhalawar in Rajasthan  made Seema Kapoor address this article, writes ...

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The loneliness of an Indian (virgin) Bride

What are Indian wedding dreams made of? – a question Janaky Sreedharan answers as she views it through the lens of the r...

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