Feminism and its Eternal Affair with Film-making
Feminism and its Eternal Affair with Film-making “I measure the progress of a community by the degree of progress which…
The Meyerowitz Stories [2017]: An Apotheosis Of Cinematic Realism
Among contemporary filmmakers, Noah Baumbach perhaps has the best understanding of realism on celluloid. His grossly underrated works all center…
Annihilation [2018] – An Ultimately Disappointing Take on a Bewitching Sci-Fi Premise
Watching the film adaptation of a popular novel after reading the book is always a tricky thing. We might be…
The Tonal Difference between Peter Rabbit [2018] and Christopher Robin [2018]
The difference in tone between both these reboots is stark, despite both originating from source materials that are warm, comforting, and, most likely for older audiences, nostalgic.
Happy End [2017]: A Lackluster Drama with Sporadic Moments of Brilliance
Austrian auteur Michael Haneke’s Happy End (2017), screened at the 70th edition of Cannes Film Festival, generated huge expectations. That’s…
Lookback on Zanussi: Camouflage [1977]
If the youth of today is to be followed, Polish filmmaker Krzysztof Zanussi’s cinema would be termed as ‘politically incorrect.’…
Mute [2018]: Voiceless. Soulless. Pointless.
Mute [2018]: A Hell of a Boring Sci-Fi With Uninspired Setting & Bland Characters. Duncan Jones’ spiritual sequel to his…
The Square [2017] – A Clever Commentary on the Pretentiousness of Human Nature and Modern Society
Swedish filmmaker Ruben Ostlund has quickly emerged as one of contemporary world cinema’s most distinctive voices. As a wonderful satirist,…