Neruda [2016] : JIO MAMI Mumbai Film Festival Review
What makes Neruda a great film lies in the way Pablo Larrain & co-writer Guillermo Calderón playfully engaged us out of the biographic element, to present a meta, sometimes poetic dream of a storyteller. It’s a biopic that almost defies its own subject matter to become a subtle investigation of how and why a person decides to romanticize with words and phrases. Why he make his characters fall in love and above all, why he…
10 Films the HOF-Men Recommend: 5th Edition
Here are the 10 films that made it to the 5th edition of our ‘HOF-Men Recommend’ Series. You can check…
Arrival [2016] : A Stunning Achievement
A blanket of clouds flow like water over mountains as the mist covers the landscape as far as eyes can…
War Dogs [2016] : Todd Phillips is no Martin Scorsese
Review by Kalpit Tandon As America and Russia are reaching diplomatic truce in Israel under the backdrop of battered ISIS and…
Kaul- A Calling [2016]: Encounter with the Unknown
I don’t exactly remember when I met Kaul. Was it yesterday? Was it in past life? Or maybe I never met Kaul. I feel its presence in rain, in distant mountains and chirping birds. It exists only in nature, a film that’s right in front of you, but you cannot see it.
Kaul (A Calling) is the miracle every cinephile prays for but a few pay for.
Fantastic Beasts and Where to Find Them [2016] : A Very Well Told Moving Magical Tale
When it finally ends, it leaves you with a very likable, warm and fuzzy feeling inside, and you go home with a heart full of happiness. Fantastic Beasts, in the end, stands as a really nice, endearing entertainer and one of the best movies I have seen in this year so far.
Don’t Think Twice [2016] Review – A Delightfully Layered Dramedy
“I feel like your 20s are all about hope, and then your 30s are all about realizing how dumb it…
Watching the unseen in Flesh [1968] and Trash [1970]
Although he would rather not be associated with the independent scene, Paul Morrissey’s no-budget films Flesh (1968) and Trash (1970) could be credited with introducing to the cinema a more experimental and more life-like portrayal of the counterculture movement in America, one that was far less concerned about narrative concepts and more about directly observing the lives of the people amidst this movement.