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Claims against The Family Man Season 2 of being 'anti-Tamil' are a farce; Raj & DK's show is true pan-Indian television
Ivan Ayr's Meel Patthar depicts a trope common to Indian art cinema: Bleak portrayals of working-class protagonists
A tribute to TS Shanbhag, who fuelled generations of readers' indulgences at Bengaluru's Premier Book Shop
Ravi Belagere (1958-2020): Remembering a maverick whose journalism was both sensationalist and subversive
Chaitanya Tamhane’s The Disciple is an elitist take on the 'market' for classical music
The unbearable sterility of Pather Panchali in colour: Unpacking the row over changes to Satyajit Ray's masterpiece
Book Excerpt: In Locating World Cinema, MK Raghavendra examines the role of socio-cultural context in a film's creation
Amid César Award win and #MeToo backlash, an analysis of Roman Polanski's An Officer and a Spy
Why Bong Joon-ho’s Parasite is a satirical masterpiece watered down by incongruous social optimism
Sam Mendes' 1917, for all its horrors, is casual entertainment, its mood at odds with his melancholy oeuvre
With Chhapaak, Meghna Gulzar takes laudable stance on a worthy cause without probing social realities
The Irishman: Scorsese's decision to cast charismatic stars as gangsters compromises film's politics
From Takashi Miike’s First Love to Kantemir Balagov’s Beanpole, introspecting on cinema at IFFI 2019
Terminator: Dark Fate — As franchise's possibilities diminish, its continued future requires infusion of imagination
Girish Karnad’s last play Crossing to Talikota engrosses, but stops short of being politically audacious
The Sky is Pink fails to do justice to a true story by succumbing to gross generalisation on caregiving families
Todd Phillips' Joker straddles genres of psychological realism and superhero fantasy — therein lies its flaw
