From 2005-2012, just 28% of Hollywood movies had a female first lead character while only 19% had a non-white first lead character.
The on-screen smoking controversy in France echoes a similar recurring debate in Indian cinema: should the authorities get in the way of art in the name of public health?
The movie has the Ramjanmbhoomi agitation and the demolition of the Babri mosque as its background.
The ‘historical’ Padmini is no more than a symbolic manifestation of the fusion of bardic imagination and colonial ethnography.
Sources said the Central Board of Film Certification chief told the panel that a decision on the film would be taken after showing it to experts.
“I am not making comfortable films, I am raising issues that affect the lives of millions of people.”
Viacom 18, the makers of the film, had earlier said that they have deferred the movie’s release which was originally scheduled on December 1.
In an interview with Karan Thapar for The Wire, former finance minister P. Chidambaram talks about the Padmavati controversy, Rahul Gandhi’s leadership and the upcoming Gujarat elections.
The films were “removed without any intimation, discussion or recourse to the jury which has the final say according to the Indian Panorama regulations”, they said.
The Vidya Balan-starrer is about reinventing lives and giving ourselves a second chance despite discouragement.
The director of ‘Dashkriya’ – which has won several national awards and has secured the approval of the CBFC – claims the film is about social discrimination and inequality and not caste or religion.
In conversation with Khushboo Ranka and Vinay Shukla, directors of ‘An Insignificant Man’, a political documentary that charts the growth of the Aam Aadmi Party in its initial but heady days.
Parvathy and Irrfan Khan are both good actors, but they cannot rise above the weak story.
The festival initiates conversations among directors, actors, journalists, festival programmers and audiences, while also exposing the locals to Indian and world cinema.
Public-facing feminism can often be a superficial distraction from systemic sexism.
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.