A CHAPTER ON KUMAR SHAHANI’S KASBA

Kumar Shahani’s aesthetic sensibilities were shaped while assisting Robert Bresson on Une Femme Douce (A Gentle Woman, 1969). Additionall...

A MAVERICK MOVING SEAMLESSLY BETWEEN THE TRITE AND THE HALLOWED

Ranjan Das takes us on a visit to a phenomenon who left an indelible mark on viewers, Utpal Dutt, the maverick we continue to ...

‘GOOD JOB NELIIMA!’

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

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...

Bengali Cinema: A Middle Way to Tread

Satyabrata Ghosh explores the cinema of West Bengal to conclude how the median between art and commerce exists and has been of...

Kings of Trick or Treat

An inveterate fan of the Ramsay Brothers, film historian Dhruv Somani, writes on their cult horror movies, as Halloween approa...

On Watching Ponniyin Selvan

Satyabrata Ghosh reviews PS-1, a Mani Ratnam film, and discusses why such alternate content is of prime importance at a time w...

Double Whammy

Film historian Dhruv Somani writes on Bollywood’s fascination for double role movies, down the decades.

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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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