By Tathagat Banerjee
Achal Mishra has named his production company Achalchitra Productions. As the very name suggests, his films challenge and subvert the very concept of chalchitra (moving images) with their achalchitra (still images/ frames).
Tag: Film
By Prosenjit Purkait
Denis Villeneuve’s ‘Enemy’ has a stellar cast, riveting ambient music, a distinct Indie (art) film aesthetic, an ambiguous ending and surreal imagery involving … spiders!
By Ashish Dwivedi
V. Shantaram’s ‘Duniya Na Mane’ is just another instance of this extraordinary juxtaposition of social criticisms and timelessness.
By Nishi Pulugurtha
Pushan Kripalani’s Goldfish running in a lone multiplex in Kolkata is a story of relationships, at whose centre is dementia.
By Rimli Bhattacharya
I end my essay with an open question to Nolan: was it necessary to speak of Bhagavad Gita when Oppie was having sex with his girlfriend? Did you witness it, Mr. Nolan?
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 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 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 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 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.
By Prithvijeet Sinha
Teevra Madhyam is ultimately about how women are often expected to cast themselves in a mould similar to the men in their lives, leading them to give up their innate vocations.
By Prithvijeet Sinha
Maati Maanas actually integrates the art of pottery and sculpture to make it a collective act, an iconography, a visual representation.
By Arunima Paul
Khamoshi is a melodrama that confronts technocratic developmentalism and its epistemological certainties within the setting of medical research and healthcare.
By Prasun Banerjee
Syed Ahmad Afzal’s Laal Rang, a brilliant piece of art, raises after decades of Indian Independence some serious questions regarding the meaning of Azaadi, as Bose envisioned it.
By Kanak Mishra
Even in today’s times, Blue Collar is yet another reminder that a classless society is still a far-fetched dream for the world where the capitalist structures will always pit those at the bottom rung against each other by hook or crook.
By Mohammed Mishad K
While Macbeth gives an opulence of linguistic vigour, Akira Kurosawa’s film is a landmark in cinematic visual brilliance.
By Khalid Jawed
In Qissa, we do not find the Irrfan Khan of other films: style of dialogue delivery, facial expression, gait, reflexes, mannerism and his entire body language are pronouncedly different.
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