‘GOOD JOB NELIIMA!’

Aparajita Krishna has this power-packed conversation with Neliima Azeem - she calls her ‘a very consummate and individua...

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...

CONFLUENCE OR CONFLICT: SCREEN V/S STAGE

Monojit Lahiri attempts to explain how the screen and stage reside in two entirely different orbits with the only commonality ...

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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Nidravatwam: Between sleep and wakefulness

Janaky Sreedharan believes Nidravatwam was a brilliant initiation into the language and aesthetics of theater conceptualized b...

The Poetry of the Quotidian of Aki Kaurismäki

Vandana Kumar writes, “To think of Finnish cinema, is to think of Aki Kaurismäki. Apparently, this perception isn&r...

Another Ravi Varma: Mankada

Kerala Varma talks about the magic in the work of the low profile cinematographer of Adoor whose work made the layman sit up a...

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...

Voices we miss

Film historian Dhruv Somani, chronicles the popular film playback singers, who are rarely heard today.

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