'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.'
Aseem Chhabra watched some great films and some huge disappointments in 2020.
'I felt a constant gag in my throat, and emerged from the movie somewhat mugged,' confesses Sreehari Nair.
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.
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