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    Current Issue

    • Inside IFAI, the Collective Taking on India’s Distribution Crisis

      Inside IFAI, the Collective Taking on India’s Distribution Crisis

      When we sat down with Kanu Behl on the day Agra opened in Indian theatres, it felt like one of those moments that might precipitate something bigger. Fortunately for Indian independent cinema, something bigger has precipitated.

    • Vijay at a political rally

      Frankenstein’s Film Star?

      When a film star becomes too powerful to be vulnerable, does cinema itself suffer? A critical look at Vijay and the star system.

    • On my Grief of Failing to Be – A Cars (2006) Retrospective

      On my Grief of Failing to Be – A Cars (2006) Retrospective

      On Growing Up with Lightning McQueen

    • SR Praveen has Seen the Reels Turn: A Conversation on Malayalam Cinema

      SR Praveen has Seen the Reels Turn: A Conversation on Malayalam Cinema

      SR Praveen about his book, Ticket to Kerala, film reviewing, and more.



    April Issue

    • From Ragamala paintings to Hindi film songs: Spring as a Time for Love

      From Ragamala paintings to Hindi film songs: Spring as a Time for Love

      The piece show how spring has been visualised as a narrative tool to show different stages of love–from yearning to the culmination of love

    • Getting lost in the city

      Getting lost in the city

      Running away from home and homecoming in Ritwik Ghatak’s Bari Theke Paliye (1959) are metaphors for the cataclysm of Partition

    • The Impossibility of Middle-brow Hip-Hop

      The Impossibility of Middle-brow Hip-Hop

                     There is no real debate on hip-hop’s place within the general culture. Most think of hip-hop as being a […]

    • Three Films: A note on Motion and Stillness

      Three Films: A note on Motion and Stillness

      How do you see the world if you don’t move through it? Perhaps, you see it as it moves while you remain still.

    • The Transcendental Cinema of Arby Ovanessian

      The Transcendental Cinema of Arby Ovanessian

      If the spectator of Chechmeh could live the transcendental content of the film, the film itself could give the spectator the poetic depth that he/she wishes to see.

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