Revolving around the difficulty of art’s inclusivity, the Ruben Östlund-directed film is not just hard-hitting and profound but also funny and topical.
Asked why he had referred to Vijay’s rarely used Christian name in his tweet, BJP leader H. Raja said the Tamil actor was a practicing Christian, which was reflected in his “hate campaign”.
A large part of the journey of over 100 years of Indian cinema boasts of the footprints of B.R. Chopra and Yash Chopra.
The film about a girl trying to break out of a patriarchal family to follow her calling is an easy film to like
In conversation with Rima Das about Village Rockstars, a small Assamese film about a girl who wants to own a guitar, and which is making waves across international festivals.
In A Suitable Girl, India and Indians are difficult to understand, progressive and regressive ideas jostle for space and cultures and generations are in a state of constant collision.
In a world increasingly defined by new media and a satellite television network no longer monopolised by political parties, mass films are perhaps no longer the only path to mass politics.
Loving Vincent isn’t hagiography but deep sincere reverence, attempting to understand and celebrate one of the finest minds of the 19th century, one that sadly gained prominence only posthumously.
Even with its flaws, Victoria & Abdul is a sweet reaffirmation of how similar we are, regardless of skin colour, language or ethnicity.
In Hindi cinema, the Dalit, as a person, remained distant from the normal imagination of a civilised person. Newton , and some films before it, have attempted to break this cycle.
Tu Hai Mera Sunday with its terrific casting and credible performances is serious about its intentions but doesn’t take itself too seriously.
Raja Krishna Menon’s Chef doesn’t preach or pander, try to please or impress. It is concerned with a few essential life truths, but doesn’t make a big deal out of them.
The film’s plot is located so securely within the actual world of central Indian counterinsurgency that to claim an external inspiration would be a gross injustice.
Ritesh Batra has managed to elegantly capture the soul of Kent Haruf’s novel and the pulse of the small US town it is set in – where the days are lonely, and the nights lonelier.
The BBC film explores Queen Victoria’s later years when, bored with court life and her role as empress of a distant land, she develops a close friendship with an Indian clerk.
David Dhawan is still stuck somewhere in the 1990s, and it shows in the crude jokes in the film.
‘In Naxal-controlled villages, if people vote, they are seen as government agents, if they don’t, they are called Maoist sympathisers.’
‘Newton’ isn’t just political; it’s also deeply personal, searing with existential angst seldom seen in Hindi cinema these days.
Simran may not have the most gripping plot and may stretch at times, but is entertaining throughout, thanks to its star.
The 1980s settings and the emphasis on verisimilitude create an excellent mood but the gloss fails to hide the incoherence in the script.
Director Dakxin Chhara Bajrange, in Sameer, chooses to tell a story that is ostensibly not his to tell – one about anti-Muslim violence.
Based on a familiar motif, the futility of crime, Babumoshai Bandookbaaz tries to rise above its limitations but is too inconsistent and jaded for its own good.
The information and broadcasting ministry had recently postponed a meeting of the previous preview committee, nominated when M. Venkaiah Naidu was its minister.
It is important to look at how India’s own film industry was filtering the stories of World War II through the prism of cinema.
The well known characters – Gandhi, Nehru and Jinnah – are painted in broad brushstrokes and seem to have walked in from history textbooks.
According to a research, suicide-related Google searches increased in the weeks following the spring release of the popular Netflix series 13 Reasons Why.
Gurgaon, just like the family it examines, hides secrets aplenty – secrets that are dark, disturbing, disgusting.
The film is imperfect but has the power to engage the audience in its characters’ struggles.
Emily Brontë’s 199th birthday is a good time to sweep away the fluff of romantic notions that shroud her only novel, and to examine her genius.
It is no secret that the US state machinery has a vested interest in monitoring Hollywood’s output, but its say in the editing suite goes deeper than we think.
The women in the movie may be strong and funny when they are in their secret lives but they make almost no push for empowerment in their oppressive lives.
With rejected and resentful stalkers resorting to committing horrifying crimes, can Bollywood remain uncritical of how stalking is portrayed on screen?
Interviews recorded by London’s Imperial War Museum add the dimension of time and the long echoes of that anguish which Nolan’s film can’t capture.
From the late 1950s, Vaali had a storied career in Tamil cinema and politics, both of which he helped shape through his lyrics.
The film benefits from the director’s light touch and solid performances by the actors.
In conversation with Denzil Smith about his experience of being a somewhat unusual actor in Bollywood, his takeaways from playing Mohammed Ali Jinnah in the forthcoming film Viceroy’s House and more.
Even when princesses lead, they speak less than their male counterparts, let emotion interfere with their rationality and have to choose between romantic domesticity and success in the public sphere.
Indian censors are far more liberal than in many other countries, says the controversial censor board chief.
Regardless of whether films satisfy some technical definition of philosophy, the fact remains that they can have on us the same effect that the great, perennial works of philosophy do.
Actor Tannishtha Chatterjee talks about her film Dr. Rakhmabai, the issues Indian women face today and why social progress cannot be taken for granted.