Presenting the mag covers that commanded our attention this year.
'He knows what he doesn't want and likes exploring the rest with his cast and crew, so it's like a journey of making something beautiful together.'
The hits and misses of the week.
As the curtain come down on 2022, Roshmila Bhattacharya flashbacks to some of the year's newsmakers and events.
These divas will leave you gasping for breath.
Vinod Mirani gives us his weekly verdict.
'Doing this film has made me a lot less selfish.' 'When you understand the value of a man, who always said others first before himself, some of that ends up seeping into you.'
'The idea is to do everything, be creative... do mad stuff.' 'Then, you come home and live your life.' Saif Ali Khan reveals his game plan.
Watch this dream come true for Mani Ratnam and cinema on the largest screen possible, insists Sukanya Verma. Ponniyin Selvan: 1 Review
Why would a super-successful star take such a decision?
Major is in a perennial state of exaggeration. The sighs, the misty eyes, the mushy speeches, its details are invested in highlighting all things in-your-face, observes Sukanya Verma.
The hits and misses of the week.
As the second season of The Night Manager hits the OTT screen, Deepa Gahlot looks back at the top spy thrillers on streaming platforms.
The Hindi version of Rajinikanth's Kabali did not find much love outside Tamil Nadu
Sukanya Verma looks at the recent spate of book-to-screen adaptations.
Moothon's script won the Sundance Institute's Global Filmmaking Award. Geethu Mohandas's movie is now coming to a theatre near you.
Raman Raghav 2.0 is unlikely to be remembered as one of Anurag Kashyap's finest movies.
Gowri Ramnarayan explores the world of Kalki Krishnamurthy whose magnificent novel Ponniyin Selvan has inspired Mani Ratnam's latest film PS I.
Bard of Blood works up several moments of intrigue and drama but falls short of culminating into a satisfying watch, says Sukanya Verma.
'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.
'It is not only the hero who displays guts and cleverness but the villain can also have these traits.'
'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.'
All through Moothon, you can sense Mohandas trying hard to empathise with her characters; I just wish she was interested in them, declares Sreehari Nair.
'The source of our music, the very notes of music itself have fallen silent.'
'There is no way you can view the movie from a distance, from a moral high ground, and get to its core.' 'To truly appreciate what Anurag Kashyap is trying to do here, you may have to lose a part of yourself to it, first,' says Sreehari Nair.
'Just as success is not real, I believe failures are also not real.' 'It's just like opinions of people who don't really know you.'
'Dibakar Banerjee isn't simply giving a particular fascistic regime the finger.' 'Here, he wants to offer us a preview of the invisible forces and human tendencies that drive fascism, blind conformity, and mass hysteria,' says Sreehari Nair.
'It's not easy being an actor for anyone.' 'Every actor, even the most successful ones, are waking up with the same insecurity.' 'If you're on top, you're worried about coming down.' 'If you're fit, you're worried about your stomach coming out.'
Indira Kannan picks Made in Bangladesh, Greed, Moothon.
'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.
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