With roots in kinship and stardom, how Bollywood continues to fuel nepotism despite being an 'industry'
Nepotism is encouraged, above all, by a film industry marked by high risk and volatility. Under such circumstances, the star – who accumulates an almost divine aura in his person – comes to be the biggest investment the producer makes to guarantee a film’s success.
Indian cinema and the Dalit identity: How Masaan confronts us with a truth caste norms would have us negate
In post-constitutional India, the meeting points of two castes or of people from two historically opposed castes, has become a vantage point for understanding the process of society’s democratisation.
The Javed Akhtar interview | 'If you say you are apolitical, you are, wittingly or unwittingly, accepting the status quo'
Javed Akhtar talks about his Richard Dawkins Award win, the demerits of 'good and bad bigotry', and why there is a difference between 'inheritance' and 'nepotism'.
Rajasthan, long exoticised on screen, transcends glorified backdrop status in Sushmita Sen-starrer Aarya
In Aarya, a thriller set in Rajasthan, there’s little of the usual fetishisation of the state’s exotica.
Hindi cinema's depiction of mental health vilifies single women. It's a trope we can no longer overlook
The representation of single women with depression in popular culture has been largely unidimensional: failure is depicted as the main cause of the mental illness, and characters are shown being self-destructive and suffering heartbreaks
In Guru Dutt's films, celebration of despondency underlines the need for a kinder world in times of crisis
In a world wrestling with the tyranny of a fatal virus, feelings of empathy, vulnerability, and despondency seem to be the need of the hour. Guru Dutt's films highlight the significance of these very emotions that are often discarded as detrimental to progress.
While Hollywood aces disaster films, why Indian cinema continues to lack budget and appetite for the genre
While Hollywood's rich repertoire of disaster and apocalypse films continues to mirror unfurling sociopolitical realities, Indian cinema is yet venture into this territory over myriad reasons, according to industry insiders.
Crime, courtroom drama in Indian entertainment: How the genres sway popular opinion on law and judiciary
The report studies the way in which the police and judiciary are represented in Indian entertainment in crime and courtroom narratives, and its impact on shaping citizens’ understanding of these institutions and the democracy-building project, at large.
Afghanistan envoy Roya Rahmani says Bollywood and cricket are the two real stars of country's relationship with India
Bollywood and cricket are the two "real stars" of Afghanistan's close relationship with India and the cultures of the two countries are deeply entwined, according to Kabul's top diplomat.
Firstpost Editor's Picks: R-Day parade, Bharat Ratna for Pranab Mukherjee, Rohit Shetty's Simmba; today's must-read stories
The award to Pranab Mukherjee by the Narendra Modi government is intended to deliver several messages at once
Umesh Shukla’s 102 Not Out marks the sixth big screen collaboration of Amitabh Bachchan and Rishi Kapoor — 25 years after Ajooba.
Tubelight, Jab Harry Met Sejal made more than 100 crores at the box office, but were still labelled flops — driving home the point that hits/flops are a matter of perception | #YearInReview
2017 showed that mainstream Hindi cinema finally seemed to get its act right with women-led films | #YearInReview
Small-town India is the new landscape that is telling a whole new story both in terms of people and what makes them unique | #YearInReview
Tiger Zinda Hai is a garden-variety Salman Khan film elevated by Katrina Kaif and India-Pakistan bromance
Let's get one thing out of the way. Tiger Zinda Hai is everything everyone expects it to be. Haters will hate, lovers will love.
Aafat, a barely recalled 1970s’ urban crime thriller, is directed by Atma Ram, Guru Dutt’s younger brother.
The period setting and theme of Firangi bring to mind Ashutosh Gowariker’s Lagaan which again featured poor villagers taking on the might of the Empire through a clash with a single cog in its wheel. The similarities end there
No flotation device that can save the viewer from this absurd story | Tera Intezaar | Sunny Leone
Prem Nagar was one of the last big hits that Rajesh Khanna enjoyed before the Angry-Young-Man juggernaut of Amitabh Bachchan took over Bollywood
Tumhari Sulu is a wonderful reminder of the films of Hrishikesh Mukherjee, Basu Chatterjee and Sai Paranjpe