Because he is now a central figure in India's television business as CEO of Star India, it's easy to forget how alien Uday Shankar was to it on the day he took the job almost exactly a decade ago. The...
There goes that diet. The 18th Mumbai Film Festival has officially begun, kick-started by a fabulous opening ceremony at the newly refurbished Royal Opera House. For regular attendees such as this wri...
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It isn't every day that one gets a chance to be on the front lines of filmmaking. Indie films seem to be in vogue these days, with a number of these low-budget-yet-large-hearted films coming out of th...
In our films, we are not telling the stories of the cities we live in, the cities that consume us day and night, the cities that live within us no matter what part of the world we are in. Sadly, in Pakistani films today, our cities are reduced to mere stereotypical backdrops, divided by differing accents and infrastructures.
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In a conversation with Renee Epstein in 1975, Michelangelo Antonioni, the Italian virtuoso and director of The Passenger brings up dramatist Luigi Pirandello. The playwright was once asked, "Why does that character behave like that?" To which, Pirandello had replied, "I don't know why, I'm only the author." This brand of detachment -- a kind of curious standoffishness from his subject, is often exercised by Antonioni himself.
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Hindi cinema viewers probably remember South Indian actor Arvind Swamy from a slew of films in the '90s, most memorably the Hindi-dubbed versions of Mani Ratnam's Tamil hits Roja (1992) and Bombay (19...
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Filmmaker Shivendra Singh Dungarpur, known for his efforts to promote film preservation and restoration in India, now has the support of two eminent Bollywood personalities to help him in his endeavou...
The last year has been an interesting one for Indian cinema. There were some out and out commercial blockbusters, some hackneyed, unpalatable movies, and some brilliant films that helped keep the faith alive. Here's my list of movies that stood out, for various reasons, good and bad, from the crowd of 2015 films.
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While the world debates the historical accuracy (or the lack of it) of Bajirao Mastani or cribs about its not-so-strong script or disses its elaborate song-and-dance sequences, there's much to be celebrated about the film if we delve a little deeper.
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And when we arrived at our very own list of festival winners, my eyes gleamed with joy as I observed that I had managed to catch all the films that people mentioned as their favorites. And my personal top three also happened to be the three most loved films of the festival that everyone's added scores resulted to. For those who missed MAMI 2015, here's our 'weeks of hard work' summarized for you in a three-point list.
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From loud conversations on the phone to calling out to a clueless friend in the dark, our lack of cinema etiquette is legendary. The Our Last Week duo, however, are not having any more of it. Kunaal and Anuvab have a couple of very effective ideas to get people to stop talking during a movie - these may or may not involve death.
History and biography are two significant genres which mainstream Indian cinema (Bollywood) has almost consistently neglected. Not that other genres have been represented well; we have very few noteworthy fantasy, science or sports movies. But when a deep-rooted, vibrant and impactful medium like cinema cannot do justice to the history and people of its exceptional country, that perhaps doesn't augur well for society.