The sounds that make up the title of Prateek Vats’s Eeb Allay Ooo! resonate through its length.
In conversation with filmmaker Sonia Filinto about her film Bread and Belonging, Goa’s perennially shifting demography, and of the intriguing connection between bread and migrants.
In Rohena Gera’s Is Love Enough? Sir, the home, closed off from prying, judgemental eyes, is also an empathetic space, allowing conversations and the forging of a connection that could not have developed or existed outside of it.
Achal Mishra’s Maithili-language film Gamak Ghar is pieced together from tangible and intangible relics from and of an earlier time and place.
In conversation with Sumithra Prasanna about her film Stateless in India, and her experiences of filming through Assam as the state grappled with the repercussions of the N.R.C.
In conversation with Bhaskar Hazarika about his critically acclaimed film Aamis, and its place within a genre that combines the bleak with the beautiful.
In conversation with the makers of Raqs-e-Inquilab about creative freedom, censorship, the role of art in a time and place of crisis, and about the one-sided narratives of hate and fear about Kashmir and its people spread by the media.
Facial hair plays an important role in Madhu C. Narayanan’s Kumbalangi Nights, a film that brings to the surface the perils inherent in popular notions of masculinity.
The path to the American dream is paved with nightmares in Sonejuhi Sinha’s Stray Dolls, which premiered at the Tribeca Film Festival last month.
Loneliness and loss, the perception of absence, and the choices that emanate from it are some of the themes filmmaker Sudipto Roy explores in Kia and Cosmos.
How did Dazed and Confused, a movie that didn’t really have much to say, resonate with an entire generation?
Chaitanya Tamhane’s acclaimed film Court is a study in how people present themselves to the world.