films
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.
Gandu’s quest won’t bring tears to your eyes or that warm feeling in your heart. But you will also not be able to take your eyes off it.
In conversation with the minds behind the Dharamshala International Film Festival.
The brilliance of this film lies in the flesh, the muscle, the teeth that Kureishi’s writing gives it.
Director Nina Paley uses lightness and humour to weave together a cutting commentary on one of the greatest epics in history.
Chris Smith’s The Pool is a narrative of survival, not triumph; of life, not drama. Released in 2007, it is everything that Slumdog Millionaire was not.
In Bollywood, bad girls may have started to have their share of fun, but it’s still the good girls who get rewarded.
In Man of Steel, by shifting the focus to the essential human conflicts faced by Superman, Zack Snyder automatically draws viewers closer to the superhero.
Open Show India offers a way for photographers and multimedia producers in the country to remain in contact with the contemporary vocabulary of image-making.
