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Our Godpapas

Khalid Mohamed takes stock of the ongoing influence of Francis Ford Coppola’s mafia don classic, The Godfather, on India...

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AMITABH BACHCHAN AND THE ANGRY YOUNG MAN

One of the biggest box-office failures of the superstar’s career, Alaap boasts one of his subtlest performances and, arguably, the best m...

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You’ve come a long way – Baby!

Monojit Lahiri reviews Shobha De’s Lockdown Liaisons and gives it a thumbs up!

Firs...

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Appealing to the young at heart: Kakababur Protyabortan

Srijit Mukherji’s new film appeals to the young at heart, with Soumik Haldar’s cinematography helping it tide over the narrative lu...

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When Atul Met the Movies

Khalid Mohamed in conversation with India’s prime, contemporary artist, Atul Dodiya, on his unbreakable bond with art an...

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The son never sets

Khalid Mohamed reviews the book Blaze: A Son’s Trial by Fire, a heart-wrenching true story written by Nidhi and Sushil P...

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Shyamal Uncle turns off the lights

In the first of a new series on standout Bengali films post 2000, Shantanu Ray Chaudhuri looks at Suman Ghosh’s 2013 fil...

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Best Photographs of 2021

Khalid Mohamed, inspired by a selection of the award-winning photos from National Sony World Photography 2021 competition, wri...

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Three Colours: Red - A celluloid poem

Mallika Bhaumik reviews Krztysztof Kieślowski’s Three Colours Red and reads the auteur’s mind while elucidating her own thoughts ...

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Mise en scene: a metaphysical expression

Sharad Raj writes that to arrive at one’s mise en scene is to liberate oneself from dogmas that are both personal and in...

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