Soumitra Chatterjee -- one of the finest Indian actors of our time -- meant so much to Aseem Chhabra.
'I might in the future step out of a Dileesh Pothan movie not completely satisfied, but content I'll be in the knowledge that our greatest living film-maker had failed striving to be something more than just an auteur,' notes Sreehari Nair.
'I don't look forward to seeing my films because this only sort of gives me a deep sense of dissatisfaction that I could have done better, and I lose my self-confidence.'
The 68th annual Cannes Film Festival kicks off...
Aseem Chhabra imagines a time, 20 years from now, when movie-watching in theatres will be long gone, thanks to the coronavirus, and pens a letter to his grandchild, explaining the magic of the cinema hall.
Sukanya Verma celebrates the acting legend.
Murder on the Orient Express offers intrigue worthy of Hercules Poirot's investigation and our time, feels Sukanya Verma.
'Political parties can play up different ideological aspects to fit individual voters.' 'For example, a party may present itself as business-friendly to one individual while it could target another voter by harping on communal fears.'
This piece is a tribute to that corner of film criticism that they call subtextual film criticism.
Do you know this giant?
.. And other memorable couple outings at Cannes Film Festival.
In Shashi Kapoor: The Householder, The Star, Aseem Chahbra gives us glimpses of one of Bollywood's best loved actors.
'This colliding of worlds is a feature of chawl life in Mumbai, where the clashes in one household often become prime-time television for the neighbours; where the boundaries of good sex, lechery, and incest are frequently blurred,' says Sreehari Nair.
'In Udaan and in Lootera, the initial sensations that drove Vikramaditya Motwane to make those pictures never quite travelled beyond the walls that contained them.' 'Here, in Trapped, this sensations-strangled-by-the-walls feeling becomes the movie's real tune,' says Sreehari Nair.
There are no real people in Tamasha -- there are only character-types written in little pink balloon-letters, all floating in cloudland, feels Sreehari Nair.
'2016 was the age of convenience for Hindi movies; of down pat effrontery and planned feeling triumphing over attempts to discern something complexly beautiful,' says Sreehari Nair.
No-Punchline humour reminds us how in our daily lives, we all are by turns 'The Corrupt Politician we criticise,' 'The Chauvinist Male we frown upon,' 'The Rule Breaker we deride through our Facebook posts,' 'The Communal Virus we so easily lampoon' and 'The Bad Artist we spoof.' In a land where the aforesaid prototypes are our major sources of 'funny,' is there an audience for the NPL kind of humour, asks Sreehari Nair.
On the occasion of Chinese New Year, we bring you a look at what 2015, the Year of the Sheep has in store for you!
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances