Prathap Nair
Cannes 2022: 'I have been living with Joyland for seven years,' says director Saim Sadiq
The director of Pakistani film Joyland on how he wrote a stirring portrayal of sexual awakening set in a conservative Pakistani family and his decision to cast a real trans person.
Cannes 2022: Stars at Noon is a sexually charged romantic thriller, let down by an unconvincing and wafer-thin plot
Despite Margaret Qualley’s efforts, the Claire Denis drama is uninvolved and receives surface level treatment of issues dealt with.
Cannes 2022: Park Chan-wook's Decision To Leave is a riveting watch packed with delightful twists and turns
Tang Wei and Park Hae-il starrer Decision to Leave is a dependably immersive piece of fine cinema from the Korean auteur’s stable.
Cannes 2022: Holy Spider is a bold piece of filmmaking by filmmaker Ali Abbasi
Misogyny, cloaked in rabid religious fanaticism, almost exalts a serial killer in Ali Abbasi’s Holy Spider, one of the two competition entries from Iran this year at the Cannes Film Festival.
Cannes 2022: Alex Garland's edgy noir Men is lifted by Jesse Buckley's effervescent screen presence
Men is heavily allegorical, slathering morbid symbolism on a simple tale of a broken relationship between a couple struggling to wean themselves off each other.
Cannes 2022: Opening film Final Cut (Coupez!) Review
The 75th edition of Cannes Film Festival opened with French director Michel Hazanavicius’s Final Cut (Coupez!), his retelling of the much-loved blockbuster Japanese indie comedy One Cut of the Dead
Cannes 2022: With COVID crisis waning, film gala gently descends on the French riviera
After successfully braving the global pandemic with a near-normal festival last year, Cannes film festival is back on the Croisette in 2022, celebrating its 75th year
A Hero movie review: Asghar Farhadi delivers a tale about ethics and integrity with a fairly engaging script
A Hero lacks the verve of A Separation and the emotional gravitas of The Salesman but as a generic social drama, it has its heart in the right place.
The French Dispatch movie review: Wes Anderson celebrates journalism in a clever and visually sumptuous way
The French Dispatch is Wes Anderson’s homage to magazine journalism. It demands the viewer’s absolute attention, just like reading a long-form article.
Berlinale 2022: Klondike, set against the Russia-Ukraine conflict, paints a bleak, harrowing picture of life during wartime
Klondike is speckled with vignettes on how the violence on the Russia–Ukraine border has reached the outside world and sucked people from other parts of the world, while costing lives
Gangubai Kathiawadi first impression: Sanjay Leela Bhansali directorial is worth every pandemic-fatigued film lover's salt
Alia as Gangubai soaks it all in with so much conviction, lugging this tremendous burden of portraying a brothel madam turned gangster placed on her back with consummate grace.
Berlinale 2022: Anonymous filmmakers document oppressed life under military regime in Myanmar Diaries
Myanmar Diaries is a heartbreaking portrayal of a country and its population slowly being brutalised to death by the military junta and usurped by the prison system in the country
Berlinale 2022: Tautly written, breathtakingly paced, Graham Moore’s The Outfit is a perfectly tailored crime drama
The Outfit is a perfectly crafted crime drama with the unfailing charisma of an English tailor, played by Mark Rylance, at its centre
Berlinale 2022: Both Sides of the Blade captures your attention, but doesn’t go far enough to convince you
Berlinale 2022: Auteur Denis’s latest outing brushes up the age-old conundrum of infidelity while still living in a fulfilling partnership for the digital age.
Berlinale 2022: Emma Thomson's Good luck to you, Leo Grande is a searing, emphatic nod to sexual freedom
Emma Thompson plays Nancy, a no-nonsense retired teacher, who hires a young sex worker Daryl McCormackto to forge deeper connections with her body
After Life season 3 review: Finale will move you in parts and may even leave you reaching for tissues
After Life season finale will still leave one unanswered simple question: What did Tony do to deserve so much love, and generosity even though his grief chafes at his wounded soul and makes him deride everyone around him?
Annette movie review: Adam Driver owns the fantastical Leos Carax’s directorial with his charismatic presence
Annette is aesthetically brilliant with a calculated expressionistic quality to its frames, and it is hard to take your eyes off.
Todd Haynes docu on The Velvet Underground shows a band defiant of artistic, cultural norms
In Todd Haynes’ expert hands, the documentary serves as a vital primer to the band’s historic and present-day relevance.
Cannes Film Festival 2021: Sean Baker's Red Rocket may be one of this year's charmingly understated films
Red Rocket is a delightful romp that relishes in the narcissism of straight male sexuality yet it doesn’t get carried away by the deceptive charms of its own lead.
Cannes Film Festival 2021: Notes on returning to live screenings and the red carpet, with lurking thoughts of saliva tests
"The applause for the opening film Annette seemed to crack the auditorium open even before the screening began, a telltale sign of an emotional audience who have missed watching anything on big screen far too long."