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From Amitabh Bachchan's Pink to Yami Gautam's Lost, 5 hard-hitting films one can watch again

The other movies in the list are Akshay Kumar's Pad Man, Deepika Padukone's Chhapaak, and Rakul Preet Singh's Chhatriwali.

EXCLUSIVE | Yami Gautam: 'Everything is for sale today, reviews can be bought, trends can be bought'

In an exclusive interview with Firstpost, Yami Gautam and director Aniruddha Roy Chowdhury, gearing up for Lost, speak about their respective experiences on this film, the issue of media integrity, and what makes them special in the eyes of the other.

Gangadhar's film Mukhachitram makes a telling point, crudely

This is just way too much of relevance for the film directed by Gangadhar to remain relevant. It tilts to the trite with the burden of its own relevance and topples over.

Happy Birthday Piyush Mishra: From Gangs of Wasseypur to Pink, a look at his finest performances

From being a theatre actor, and music director to lyricist, singer, and scriptwriter, Piyush has added many feathers to his hat and makes sure to justify each one of them.

With films like Dunki and Woh Ladki Hai Kahan, will the always unconventional Taapsee Pannu run riot in 2023 too?

She has Rajkumar Hirani’s Dunki coming up, Sudhir Mishra's project lined-up, and a comedy drama with Pratik Gandhi titled Woh Ladki Hai Kahan. Will she steal the show in 2023?

Amitabh Bachchan @ 80: Eight faces during eight phases of his career

We’ll take a look at the final four phases of the superstar's career, charting the course from the mid-80s to the present day.

Saakini Daakini is much more fun than the original

Although a remake, Saakini Daakini is its own beast. Revved-up and roaring with feminine power, the adrenaline just flows. It has terrific action pieces where the girls seem to be doing their own stunts and doing them pretty passionately.

Amitabh Bachchan and Rashmika Mandanna's Goodbye is a sparkling take on the wages of mortality

Vikas Bahl, in what is incontestably his best work before or after Queen, should have been a little more economical with characters. What was the need for the bereaved family to be extended when they already had a son and a daughter of their own?

Retake: Courtroom dramas and the journey from modern myths to mythical modernity

Courtroom dramas have gone from philosophical essaying to rudimentary message-making representing both, our distance from institutional power and possibly our refusal to engage with it as an idea.

Siya: Is the sensitive portrayal of rape enough to change the mentality of the people?

Though our movies have come a long way from the glorification of sexual misdemeanours in movies like ‘Insaaf Ka Taraju’ or ‘Madhumati’, to sensitive portrayals in recent films like ‘Siya’ or ‘Pink’, is it enough?