Celebrity stylists Pranay and Shounak open up about dressing up Vidya and other celebs.
Netflix has unveiled a line-up of 15 original series as well as returning seasons of popular shows.
...But a comedy about Class Wars. Sreehari Nair tells us why.
Sukanya Verma lists some of Bollywood's delightful reel-life husband and wife jodis in the last few years.
In A Suitable Boy, Mira Nair holds our hands and takes us through the magical journey, introducing us to so many fascinating characters from another era, observes Aseem Chhabra.
... And sometimes, that's enough, says Sreehari Nair.
Sreehari Nair introduces you to three promising movies coming up.
As splendid it is to behold, A Suitable Boy cannot match in soul and falls short of being memorable, feels Sukanya Verma.
'We don't have that support system.' 'The last six years has gone into making Manto and raising Vihaan and it has been tough.'
'Deeply flawed, Sacred Games and Mirzapur come nowhere close to representing the diversity of stories from this country,' says Vikram Johri.
Sukanya Verma looks at 2019's winners and washouts so far.
'I never thought an invisible character like Radhiya would get me that much visibility.'
"You have an MBA from IIM-Ahmedabad. You worked in a bank in New York. What made you give up all that and pursue acting?" 'A little bit of courage and a lot of stupidity.'
'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.
'Despite its noble attempts, tight editing, terrific sound design, good performances and a compelling story, Hotel Mumbai tells a big lie.'
'I felt a constant gag in my throat, and emerged from the movie somewhat mugged,' confesses Sreehari Nair.
Aseem Chhabra watched some great films and some huge disappointments in 2020.
Nandita Das on why she wants to make Manto so badly.
'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.
If Manto, the film, falls short of being a masterpiece it's because Nandita Das could not quite crack the Manto code: She couldn't quite see the wholeness of her subject with the same eyes that Manto saw his people. This imperfection in the film, in a way, becomes the greatest tribute to Manto, feels Sreehari Nair.
