The Kapoors prayed for the matriarch at a chautha.
Manikarnika: The Queen Of Jhansi is one long action scene, notes A Ganesh Nadar.
'Directors like Buddhada don't tell you, "Do this, do that." They just guide you and you get it right.'
The hits and misses of the week.
'All my life, I have made expensive films. This time, I want to make the least expensive film ever made in Bollywood.' 'It's an honest attempt to climb Mount Everest without knowing if I will reach the peak.'
Khandaani Shafakhana is a original and socially important subject which had the best potential but unfortunately ends up leaving less emotional impact.
Bollywood pays their respects to the veteran actor.
While we wait for Batra's latest to drop on Amazon Prime Video on February 11, Sukanya Verma looks at how Bollywood has dealt with affairs of the heart over the years.
Bejoy Nambiar's gripping slice-of-mess about things spiraling out of control find an expression in a striking ensemble and volatile scenery, notes Sukanya Verma.
'To this day, women, especially housewives, come up to me to tell me how much Arth matters to them.'
Khandaani Shafakhana neither enlightens nor entertains, feels Sukanya Verma.
As Dilip Kumar passes away in the ages, Sukanya Verma feels a deep gratitude for the enormous legacy he's left behind.
Diljit Dosanjh's striking self-possession, like the champion he's portraying, doesn't let it come in the way of a performance that screams g-o-a-l, feels Sukanya Verma.
There are no heroes or villains in No Fathers in Kashmir, but only helpless characters, who perhaps don't have a choice other than learning to live with what they're subjected to, notes Utkarsh Mishra.
'He had a continuing interest in life, people, and the society in which he lived,' remembers Shyam Benegal, who collaborated with the polyglot playwright and actor through the 1970s and remained his friend for more than five decades.
We celebrate Bhattsaab and his greatest gems.
'It was fun trying to regulate ourselves and keep it in the family zone and yet, be tongue-in-cheek.'
Love In Bombay is a piece of history, a fragment of a time that was. Letting us gaze at it is a great idea. Expecting it to compete with films shot six months ago, on the other hand, is dead wrong, writes Raja Sen.
'Nobody laughed during the shooting. There were fights, swearing and what not. Tempers were high but the unit and the actors stayed on, and finally, the film was made. But it was like riding a wild horse!' Kundan Shah's last interview.
...But a comedy about Class Wars. Sreehari Nair tells us why.
Haider is a remarkable achievement and one of the most powerful political films we've ever made, a bonafide masterpiece that throbs with intensity and purpose.
A look at Shyam Benegal's period classic, Junoon.
Smita Patil would have been 60 on October 17 had fate not cruelly snatched her from us in 1986. She was only 31 when she died. Rediff.com salutes the incomparable actress in a special series.
An A-Z of Bachchanalia, the letters expanding into unforgettable bits of his filmography.
'Madhubala told me that of all the addictions, the biggest addiction is make-up; once you put it on, you can never leave the limelight even if you want to,' Tabassum tells Patcy N.
Jo Jeeta Wohi Sikandar masterfully weaves a compelling human story, says Sukanya Verma.
© 2026 Rediff.com - Investor Information - Advertise with us - Disclaimer - Privacy Policy - Sitemap - Feedback - About us - Terms of use - Grievances