'I will miss her camaraderie, her humour, love for food and passion for film.'
Iram Haq's What Will People Say is a deeply relatable story of family values at odds with a modern culture.
Aseem Chhabra lists the best non-Hindi language films he watched in 2020, with the hope that they will have a wider reach in the new year.
The top posts on social media from your favourite Bollywood celebrities.
A look at the top tweets from your favourite Bollywood celebrities.
Sridevi had updated her art to become more contemporary than current actors. She was new-age and yet vintage. By making the predictable so precious, she makes it a scene that could hold its head high anywhere in world cinema.
Isn't It Romantic is about a New York woman hit on the head during a mugging. The impact leaves her feeling that she is in a rom-com.
As the MAMI film festival kicks off, Aseem Chhabra picks the must watch Indian movies.
'I wasn't interested in shackling my freedom to a Bollywood actor.' A fascinating excerpt from Lisa Ray's memoir Close To The Bone.
The Good, the Bad and the Ugly at the movies!
'I'm very, very happy.' Winners react after the 64th National awards announcement.
The top posts on social media from your favourite Bollywood celebrities.
'Tigers fails to understand that the phenomenon of a million babies dying because there is not enough clean drinking water in which to mix a certain packaged baby formula may have its source in a system where deprivation runs so deep that even a small gift works like a tonic,' argues Sreehari Nair.
Neeraj Pandey's Aiyaary is the sort of spy fantasy story that drunks narrate in bars, says Sreehari Nair.
'A film that tells its tale with calculated intent -- coolly, cleverly, taking its time -- mirroring the dry panache of its self-assured protagonist.'
The annual Toronto International Film Festival began on September 10.
A look at the top tweets from your favourite Bollywood celebrities.
Sukanya Verma's super filmy week was high on emotions.
'We cannot be the country that created the Kamasutra and then we show flowers kiss and a child is born.'
'A lot of people in the West think that India has a very conservative culture, so we don't show much intimacy and sex in movies here. But I always say that, without sex, India won't have a population of over 1.2 billion people.'
'We are not in the crore game, at least not me.' 'So when I do a film, I do it purely on its merit, where I think we will go ahead and make a fantastic film.'
'Love Sonia is a motion picture with the ambitions of a novel.' 'When I walked out of Love Sonia this Monday night, I walked out with a hushed audience that seemed too overcome by the raw power of the film to even pause for applause,' notes Sreehari Nair.
'The overarching fact of modern social behaviour isn't that we are irresponsible women and men, but that we are never quite sure, when and how to act responsibly.' 'This is the real side of every Twitter outrage, where those who tweet about stories of 'unreported domestic abuse' end up feeling superior to those neighbours who are summoned up as clueless witnesses.' 'This view of the supposed spiritual decay of our times, which is at the core of Gali Guleiyan, is thus more fashionable than perceptive,' says Sreehari Nair.
'The first time we actually got to meet a Bollywood star, it was Salman Khan.' 'We met him at his farm house.' 'For Pia, an actor is just an actor. There is no such thing as a star in her world, and that may or may not go down well with some people.'
Preetisheel Singh lets us into some star secrets.
After working on Mr India and Sagar, Partho Sen-Gupta left to study filmmaking in France at 26. He returns with the dark and moody Sunrise.
Umrika, which won the audience award in the World Cinema Dramatic Competition section at the Sundance Film Festival in 2015, finally releases in India.
'The nicest thing is that it is not my film.' 'People bring their own stories and life histories to the film.'
'Both Main Aur Charles and Titli are essentially stories of two plot-devices that became protagonists. You cannot relate to Titli or Charles, without submitting to the knowledge that neither of them are well-rounded characters; they are more like artifacts -- Charles, a schlock artifact and Titli, an artifact of spirit toughened by years of live brutality.'
What if we these popular American television series were made in India?
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