Bollywood routinely profits from hypernationalist military narratives that demonise entire communities in the name of storytelling, but scrutiny of such films is often met with resentment instead of critical thinking. The 'Sardaar ji 3' controversy exemplifies that outrage only erupts when someone dares to imagine a version of India that doesn’t include perpetual hostility.
What Panchayat lacks in substance this season, it tries to make up for with extreme melodrama. Once a refreshing show, it now feels like it’s just going through the motions, one threadbare plot point at a time.
New York Indian Film Festival | A spunky homage to desi detective stories, Kaisi Ye Paheli harks back to every iconic fictional detective, from Agatha Christie’s Miss Marple to Satyajit Ray’s Feluda to Sharadindu Bandyopadhyay’s Byomkesh.
Despite legal appeals from the father of Sidhu Moose Wala, on whom the documentary is based, the BBC has released The Killing Call on YouTube, sparking discussions on where to draw the line between documenting reality and exploiting trauma.
Subhadra Mahajan’s debut excels in its more humorous and humane stretches. But the film leaves you with the feeling that something more urgent, more grounded, and more affecting is just out of reach.
Pride Month Special | Meera and Indira’s desires and search for companionship are portrayed by director Chandradeep Das with a kind of honesty, depth, and normalcy that ends up confronting the mainstream, which often dismisses such narratives for not appealing to the heteronormative male gaze.
The CBFC has often wielded its scissors and its age ratings less as tools of classification and more as instruments of control. Will the new age-based categories in the film certification system bring in welcome change or cause more trouble?
Hacks exposes how capitalism co-opts feminism to sell empowerment while reinforcing the same old hierarchies. It asks what power looks like, when rooted, not in domination, but building a legacy that pulls others up.
This feminist body horror drips with gothic style and grotesque beauty as it follows the tormented journey Elvira, one of Cinderella’s “ugly” stepsisters, through twisted rituals of beauty and becoming.
Zuzana Kirchnerová draws from her own life as a mother to a child with Down syndrome and autism to shape Caravan’s intimate, lived-in narrative.
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