By Rimli Bhattacharya
A friendship blossoms between the two. Irawati opens up to Preetam about her trauma, anxiety and panic attacks.
Tag: Film Review
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 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 Niveditha Prasad
The state in ‘Kantara’ is an ambiguous presence whose place in the narrative is grey. It appears as the post-colonial state in 1990, in an India at the cusp of neoliberalism. There are bikes, telephone poles, bottled soda drinks and freely flowing Scotch.
By Leya Mathew
What Ajay Raina has compiled and presented is but a part of Tikoo’s efforts. The work of activism is long and dreary; some of the ordeals of life under siege can be glimpsed through what Raina chronicles in ‘Mout`e Rang’.
By Rimli Bhattacharya
As I watched the film, I travelled ages back when I was only a fifteen-year-old teenager and was a victim of a severe sex abuse.
By Rimli Bhattacharya
While the movie slightly deviates from the book, Sachin Kundalkar deserves credit for portraying a poignant tale of love, relationship, and societal norms on screen.
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 Vanshika Lakhani
‘Hum Aapke Hain Kaun’ reminded people how beautiful it is to have Indian traditions and culture while having fun with your extended family.
By Anjali V Raj
Similar to Masurkar’s Newton, Sherni is also quite distinct from general Bollywood movies. The movie is evenly placid and maintains hilarity without losing the serious vigour of the story.
By Sourya Chowdhury
Tamhane is only two films old but is already in the process of mastering a distinct mode of storytelling, auteur-like in his predisposition for long, lingering shots, naturalism and loving portrayal of the mundane.
By Panchali Ray
While feminists have long been critiquing the institution of marriage, it took a global pandemic to bring out the unequal gendered division of labour, care work and violence entrenched within the family.
By Shinali
‘The Great Indian Kitchen’ is not a film that celebrates food in all its gloriousness, but one that entails the glorification of unpaid labour in its most prosaic form in the kitchen.
Cafe Dissensus Everyday 