They say that cinema is a reflection of society. If that is true, what kind of society are we living in, asks Paloma Sharma.
Prepping for Sanjay Leela Bhansali's Padmavati, remembering Rajesh Khanna and Raaj Kumar's exclusive tramp club and picking Ranbir Kapoor's best performance in my Super Filmi Week.
Stay away from theatres, I'd say. 50-kos away, even.
Ananth Mahadevan takes on the audience.
'There are times I have been rejected at the first stage of the film.' 'Also, accepted first and rejected later, along with when I was almost there, but the film did not happen.'
What you need to know about M S Sathyu's classic Garm Hawa.
'It was fun trying to regulate ourselves and keep it in the family zone and yet, be tongue-in-cheek.'
'Whether it is Mulk or Article 15, I am talking about love and against hatred.'
Raja Sen feels Dedh Ishqiya is a genuinely smart film.
Sudhir Bisht recalls the battle of 1984, in which UP's strongman H N Bahuguna was felled by Bollywood superstar turned political novice Amitabh Bachchan.
Sreehari Nair wasn't impressed with Rangoon at all. But find out which film tops his list!
'It may not be coincidental that the rise of these warriors with their bile and diatribes has come at a time when the concept of neutrality in journalism is fading.'
'It took a 75-year-old director to teach the reformist set of Facebook users that Evil is not an aberration, but something that resides in the most regular seeming of human beings,' says Sreehari Nair.
'This slender yet joyous film introduces so many fresh insanities and has such an endless stream of wisecracking that it takes on shades of a running ballad,' notes Sreehari Nair.
What Readers thought of Article 15.
'Ek Hasina Thi is the best movie of its kind. Similarly, for Omkara and Hum Tum. But after that, what do you do? You just flatten out and start doing some bad movies because they aren't making any (good movies). I mean, what has Vishal Bhardwaj made after Omkara that is comparable? What has Kunal Kohli made after Hum Tum that is comparable?' Saif Ali Khan hopes that new film Chef impresses.
'In Vishal Bhardwaj's now fully set world of manufactured poetry, characters wear their emotions at their most prescribed anatomical positions -- courage on their chins, pride over their chests, and innocence in their faces,' observes Sreehari Nair.
'The directors of these movies to me are less like artists and more like red-pen remarkists, whose idea of a script is basically checking off the broadest of issues in the broadest possible ways: Sexism, Check. Misogyny, Check. Loving yourself, Check,' says Sreehari Nair.
.jpg)
Here's a look at the top 10 tweets from your favourite Bollywood celebrities.
Nandita Das on why she wants to make Manto so badly.
Brilliant movies from China, Ethiopia, Austria and India line up for Mumbai.
'Mr Shankar is equivalent to James Cameron given steroids!' 'Trust me, in this Rs 510 crore, Hollywood cannot make what we have produced here.'
Director Shonali Basu and her actors on the making of what appears to be a memorable movie.
'Sudhir Mishra takes us into the dreams and fears of our politicians, into their self-deceiving pitches, and he shows us their demons and angels,' says Sreehari Nair.
'Movie plots clearly don't excite director Dileesh Pothan as much as true stories where life had come dizzyingly close to becoming like a movie and then, had fused back with life.' 'This means that a conversation he overhears at a tea shop is more likely to give Pothan a setting for his next picture than a brainstorming session inside a conference room,' says Sreehari Nair.
'There were certain ideals and morals that I had started bending as I was climbing up in the industry.' 'I was unknowingly hurting people close to me, unknowingly treating people the way I wouldn't want to be treated myself.' 'But I am not that person and I didn't start off like that.' 'Then the introspection began.' 'Very rarely does that happen when you do a film.' 'I was feeling unhappy as a person. Now I am much happier.'
'Peddlers isn't a movie of grand cinematic achievements, but one of small yet startlingly original victories.'
'How is it okay for a woman to show her private parts to the world just because she wants to go to the toilet?' 'She can't show her face -- you want her to pull her ghoongat till her navel -- but you are okay with her flashing to everybody!'
Bombay Velvet is an obviously shallow film, an all-out retro masala-movie with homage on the rocks and cocktail-shakers brimming with cliche.
With the images of Rajendra Babu, Radhakrishnan, K R Narayanan, V V Giri and Kalam in my mind, the image of my beloved hero dancing ungainly to 'Merey angney main tumharra kya kaam hai', doesn't make a smooth transition, says Sudhir Bisht.
Finding Fanny strikes gold, raves Raja Sen.
'I am just making a creative film. It has nothing to do with propaganda.'
'Don't do it if you only want to wear good clothes and drive a flashy car. Get into banking, then.'
'This is a solid, terse film that makes its points in mainstream fashion with an appropriate lack of subtlety.' 'Pink is a barnstormer -- and it doesn't pull its punches.'
'Salman has changed a lot in the past few years. He was totally different when I shot with him for Jai Ho. He has mellowed down, but I don't like him like this.'
In our special series revisiting great Hindi film classics, Sukanya Verma looks back at Rishi Kapoor-Sridevi-Vinod Khanna starrer Chandni.
And you won't guess which film tops Raja's list! And why.
'I got Rs 300 for a dubbing job, and I was so happy with that money because it was my first income in Mumbai!' Laal Rang heroine Pia Bajpai shares her story.
Sukanya Verma shares her exciting filmi week with us!
© 2026 Rediff.com - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances