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.
Chaitanya Tamhane’s acclaimed film Court is a study in how people present themselves to the world.
In Neeraj Ghaywan’s Masaan, sex is young and brand new; it is curiosity and desire all wound up in wires and technology and Facebook and computers. Death, in contrast, is old and ceaseless and long.
Aditya Vikram Sengupta’s debut film Asha Jaoar Majhe forces us to ask questions about what we do with love in our lives.
Even when a larger-than-life portrait of Ambedkar is looking over you, there is only so far the love story of a lower caste boy and an upper caste girl can go.