The Woman Who Ran (Domangchin yeoja) [2020] Review – A truly minimalist tribute to the female gaze
It feels like a plague has hit the festival circuit when at least one Hong sang-soo film isn’t playing. 2019…
Ashleel Udyog Mitra Mandal [2020] Review: A Fever Dream that Works Only While It’s High on Fever
‘Ashleel Udyog Mitra Mandal’ (AUMM) is this week’s Marathi-language release. After its premiere in the MAMI film festival in 2018,…
Nanook of the North [1922] Review – A Quasi-Documentary Classic on the Ever-Smiling Eskimo
The complicated legacy of D.W. Griffith’s Birth of a Nation (1915) is very well known to any cinephile: it showcased…
Kesari [2020] Review: An Exquisitely-Shot Yet Middling Sports-Drama
Kesari (2020) gave me the feeling that Gully Boy did back when it was released. It works largely on the…
All the Bright Places [2020] Netflix Review – A problematic, familiar story about trauma and healing
Brett Haley – who previously directed the wonderful indie comedy “Hearts Beat Loud” is back with the new Netflix rom-com…
Kaande Pohe (2020) Short Film Review: A Little Snack of Sweet Romance
Terribly Tiny Tales’ Valentine’s special short film “Kaande Pohe” about a Maharashtrian arranged marriage prospect aims at invoking a bittersweet…
Trance (2020) Review: A Placebo Dose of Cold Stupor
If films had definitions, Trance (2020) would be defined as an attempt to suspending the belief(s) of the audience. The…
Taj Mahal 1989 Netflix Review – An unengaging marriage of politics, love and philosophy
As far as nostalgia is concerned, the Indian web-series scene has churned out every possible 90s traits to makes sure…