By Mubashir Karim
Jafar Panahi’s ‘No Bears’, if not anything else, is yet again, a testament of a self, caught in the whirlwind of a society that is yet to come to terms with a mechanical mesh committed to truth-telling through images.
By Shahid Jamal
Being a citizen of this country, I am neither interested in knowing who inaugurated the new parliament building nor in its design and architecture. My interest lies only in the functioning of the parliament.
By Shruti Sharma
Think ‘Dangal’, ‘Shabhash Mithu’, ‘Chak de! India’, a sportswoman is the medium through whom a father’s dream or a male coach’s unfulfilled desire to win laurels for the country is accomplished.
By Sharmita Lahiri
Samaresh Kaku the person became more fathomable to me, through Samaresh Majumder the writer. He was indeed a literary creator who in real life did not deviate from the thoughts he presented in his works.
By Chaandreyi Mukherjee
Rushdie’s narrative seduces and beguiles as it traces dynasties of kings and their reigns full of intrigue and passion, conversing animals, magical metamorphoses, charming forest goddesses and an enigmatic and supremely alluring storyteller.
By Nishi Pulugurtha
‘Home Anthology’ is marked by a “plurality of approach” and it is this plurality that strikes one as one reads the poems in it.
By Anwesh Satpathy
Gandhian anarchism can be rightfully termed as a form of decolonial anarchism, rooted in the experience of India’s rural life.
By Mohammad Asif
Turkle and Friedmann warn that excessive dependency on technology is eroding the organic connectivity by undoing us as humans, which we are precisely experiencing in our post-COVID-19 socialisations.
By Mohammad Asim Siddiqui
Bilal’s translation is enriched by an extremely well-written and comprehensive introduction about the poem running into more than fifty pages.
By Umar Timol
But at fifty-two years old, I read Camus differently. What strikes me is the absence, like a black hole that devours all matter, of the Arab, a nearly invisible character who serves as the backdrop and pretext for the existence of the colonizer.
By Udita Banerjee
It is also important to mention that despite the shortcomings, movies like Vadh are important because they delve deeper into the complexities of human psyche and urge the audience to think and rethink about primal concepts of right and wrong.
By Dustin Pickering
Rajorshi Patranabis ‘Palette’ is an appropriate title as the collection is riddled with colors defining moods and actions throughout.
By Srijita Kar Chowdhury
As I embarked upon the journey with the translation, I could find myself slowly disappearing and reappearing in the old-world charm of Calcutta.
By Ananya Dutta Gupta
As a storyteller who does not necessarily see realism and fantasy as contrary impulses, Atanu Ghosh seems to have picked up from where Tapan Sinha left cinema in Bengal.
By Vinayak Bhardwaj
The locals from Poonch, Rajouri, and other border regions linked to the Pir Panjal ranges are unconsciously engaged in conflict with an unknowable, unseen dispersed ‘power’.
By Ayesha Arfeen
The butterfly is shown many times in the film: at the start of the film when we are introduced to the characters; then at the beginning of the story, where Kala is shown waving to the crowd of press and fans after an award ceremony.
By Chayanika Saikia
Once I was an island with my plans of life, achieving them and planning again to achieve again, dwelling around the border of my ‘selfistan’.
By Neha Dhull
Having the luxury to pursue intellect also comes from being in a position in society where one does not have to worry about the basic needs of life.
By Rimli Bhattacharya
But do I really care? The society never understood. And never will.
By Yanis Iqbal
In Pathaan, the attempted shift from the maternal nation through the personality of Rubina encountered a cultural backlash from right-wing activists, who said that the saffron bikini worn by Padukone in the song “Besharam Rang” was an insult to Hinduism.
Cafe Dissensus Everyday 