It's like Agatha Christie walked into Roman Polanski's Chinatown conversing in Vishal Bhardwaj with a smattering of Brian De Palma for razzle-dazzle -- the upshot is mesmeric, raves Sukanya Verma.
'When you are crafting a story, it's always important to see how authentic that story is because if it is authentic and rooted, it will stand the test of time.'
Since its entry in 2016, Netflix has announced over 60 titles to be sourced from India.
A look at this week's hits and misses.
The Indo-French production received much applause at the 68th Cannes Film Festival.
Sreehari Nair explains why Haraamkhor may just be the most liberating Hindi movie made since Hazaaron Khwaishen Aisi.
A look at this week's hits and misses.
The Dulquer factor is the only saving grace of this witless, charmless sham posturing as satire, feels Sukanya Verma.
It's been a good Cannes for India this year!
Sukanya Verma looks at the various baap-beti equations depicted on the screen.
Sukanya Verma looks back at the trend's most memorable incarnations in recent times.
'2015 gave us a set of Hindi films that brought to light, the true uncorrupted joys of filmmaking even in their roughness.' 'Films which told us why we loved films in the first place. Films that were less ashamed of revealing their weakness and ones that took chances with audience expectations.'
Sukanya Verma looks at 2019's winners and washouts so far.
'It is a male-dominated show, but that does not mean that the female characters do not stand out.'
Sukanya Verma lists the movies she grabbed at MAMI this year.
'Masaan is history for me. This is another journey with Raman Raghav 2.0. You have to clean your slate after every film, and not let its success or failure affect you.' Vicky Kaushal moves on, with Raman Raghav 2.0.
'I don't remember the last time I was this invested in the characters of a story since Doordarshan's golden age or early days of cable television boom,' applauds Sukanya Verma.
The Good, the Bad and the Ugly at the movies!
'I may sound snobbish but I am genuinely tired of responding and saying thank you on Facebook, on Twitter, on phone calls. People are calling from everywhere. There is all this excitement and different groups are throwing parties. I have to attend them or else they will think I am snooty.' Meet Masaan director Neeraj Ghaywan.
'The most difficult thing in the world is to convince someone to put Rs 20 crore on your movie script.'
Masaan is an immense achievement for a first-time filmmaker and must be applauded, says Raja Sen.
'Mulk gets a lot of things right, including its vision of the country as a place where underneath the punctilious, forced-secular surface there are volatilities waiting to go off,' says Sreehari Nair.
True misogyny is when you stop being curious about women, and Milind Dhaimade directs his actresses with a sense of wonder. Tu Hai Mera Sunday has delightful women characters, sketchy men, and individual threads that work better than the whole package, feels Sreehari Nair.
...But a comedy about Class Wars. Sreehari Nair tells us why.
'Peddlers isn't a movie of grand cinematic achievements, but one of small yet startlingly original victories.'
Aseem Chhabra's take on the highlights of Indian cinema this year.
