By Sramana Saha
Ek Phaali Rodh ends on a note of hope and positivity in a dark and gloomy bystander-filled world. It conveys the message that the Good Samaritans not only exist but emerge the brightest, relegating all the negative elements to the background.
By Aaryata Agarwal & Ishika Mittal
The idea here is that society and legal systems have often so spectacularly failed women and justice seems so unattainable that the fantasy of a wronged woman being reborn as a goddess seems like the only way to get something even close to it.
By Bijaya Biswal
A young Waad al-Kateab arms herself with a camera around men equipped with snipers and tells us the story of a war from the perspective of a woman.
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 Prithvijeet Sinha
Soaked in silences, The Lunchbox is uplifting modern cinema that stays true to its humanist heart and hardly loses touch with it. It bundles wit, personal discovery, practical wisdom and unrequited desires.
By Mohammed Mishad K
While Macbeth gives an opulence of linguistic vigour, Akira Kurosawa’s film is a landmark in cinematic visual brilliance.
By Sukla Singha
But Axone is not just about the taboo of cooking a ‘weird smelling’ food, but it’s also about the ‘otherness’ of the tongue, about how accent and pronunciation are indicators of where an individual comes from.
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.
