MOVIES: THE ORIGINAL GLAM DIVAS OF BOLLYWOOD

Both of them made relatively quiet debuts in the early ‘70s, Zeenat in OP Ralhan’s Hulchul (1971), and  Parveen in BR Ish...

TRENDING: MASCULINITY AND MANIPULATIONS DOMINATE

Films were never meant to be a medium to express hate against women, religion, community, or dissenting voices. Lately, however, Indian films a...

DIAL A SHRINK SAY THE GIRLS

Animal is not only a retaliation to the women’s demand for equal rights, it is the callousness of testosterone driven marketers who don&r...

ARDH SATYA: TRAPPED IN A LABYRINTH OF DECEPTION

O.P. Srivastava travels back in time to reflect on Govind Nihalani’s Ardh Satya (Half Truth) written by Vijay Tendulkar,...

WE THE PEOPLE!

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

THE TOWERING TRIUMVERATE & THE TERRIFIC TRIO

Dilip-Dev-Raj or Aamir-Salman-Shah Rukh? Monojit Lahiri invites readers to go for it while he attempts to objectively analyze ...

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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The Flashback Experiment

Film historian Dhruv Somani revisits Cinema Cinema, the 1979 underappreciated documentary by Krishna Shah and Shahab Ahmed, on...

SOHAILA KAPUR: The Person & Her Legacy!

Sohaila Kapur belongs to a very rooted and empowered artistic and cultural legacy. She has, in her individual way, made her own space, writes <...