The Woman in the Window [2021]: Netflix Review – Predictable Hitchcockian thriller dwindles while trying to outsmart the viewer
They say “An empty mind is a devil’s workshop.” But what about a mind that’s brimming with thoughts? A mind…
No Country For Old Men (2007): A Study of Human Duality
Coen Brothers’ adaptation of Cormac McCarthy’s novel, No Country For Old Men (2007) is nothing like your usual neo-western but…
Creating an Ashoke Ganguli of his Own: Irrfan Khan in “The Namesake”
In Jumpa Lahiri’s The Namesake (2006), Ashoke Ganguli has been introduced as a ‘slightly plump, scholarly looking’ young man who…
How Nayattu (2021) Is An Unrealistic and Misleading Anti-Dalit Movie
****Warning: Spoilers*** Critics and viewers alike are hailing the 2021 movie Nayattu, directed by Martin Prakkat, as a bold step…
About Endlessness [2021] Review: Vignettes, mundane and majestic, make a masterpiece
“I saw a woman, who thought no one was waiting for her,” announces the narrator of ‘About Endlessness.’ This, at…
Oxygen [2021] Netflix Review – Taut single-location thriller serves as an allegory for socially-distanced isolation
French director Alexandre Aja returns to native-language filmmaking after more than two decades. His breakout genre hit ‘High Tension‘ landed…
Beginning [2020]: ‘MUBI’ Review – We Live In a Patriarchy, Let’s Begin There
Cannes 2020 selected Déa Kulumbegashvili’s ‘Beginning’ (Dastaskisi) was supposed to play in competition along with Wes Anderson’s ‘The French Dispatch.’ While the former had a drip-drip-drip release since September, I assume nobody but Anderson has seen the latter. Cannes, for its glory, selected Steve McQueen’s ‘Mangrove’ and ‘Lovers Rock’ to play in the competition. They picked Nir Bergman’s ‘Here We Are’ and Francis Lee’s ‘Ammonite,’ too. My money, however, would have been on ‘Beginning’ to…
10 Things You Probably Didn’t Know About Nomadland
Early on in Nomadland, Fern tells someone, “I am not homeless…..I am houseless. Not the same thing.” Exploring life on…