Ayar [2021]: ‘NBFF’ Review – Bold attempt at Pandemic infused cocktail of meta and narrative filmmaking
Floyd Russ’ Ayar, in its essence, diverges towards different branches of filmmaking; at first a little unfathomably, but not so…
Meat me Halfway [2021] Review – An insightful documentary about reducetarian habit of food consumption
Brian Kateman is the co-founder and president of the Reducetarian Foundation. His documentary “Meat me Halfway” (co-directed by Journey Wade-Hak)…
Crossover adaptations for Indian audience
Crossover adaptations of movies are nothing new in Hindi cinema but the trend is largely limited to action and thriller…
The Man Who Stole the Sun [1979] Review – A Singular & Highly Ambitious Black Comedy
Kazuhiko Hasegawa’s The Man Who Stole the Sun (Taiyo wo nusunda otoko, 1979) is riddled with the anarchic spirit of…
Why “Hungama Hai Kyon Barpa” is a Near-Perfect Tribute to Its Inspiration
Why Hungama Hai Kyon Barpa is a Near-Perfect Tribute to Its Inspiration: When Musafir Ali (played by Manoj Bajpayee) walks…
Katla (2021-) Netflix Review – A Nordic Slow-Burner with a Mix of Folktale and Science Fantasy
Iceland is one of my preoccupations, sometimes an obsession. It’s unimaginably beautiful yet very intimidating natural atmosphere – fjords, valleys,…
Aya [2021]: ‘Cannes’ Review – A Gentle Coming-of-Age film about Being A Woman and loving your Roots
Films about coming-of-age are instantly appealing to me. This is a phase of life that is drenched in receptive timelessness….
Hyenas [1992] Review – A Vibrant Allegory on Neocolonialism and Materialism
Senegalese film-maker Djibril Diop Mambety’s feature-film debut Touki Bouki (The Hyenas Journey, 1973) was hailed for its groundbreaking imagery (within…