• Article 15 is not the work of a hack, or of someone merely scooping a plot out of newspaper headlines. It is a well-researched, clear-headed movie; but its findings have a purpose

  • If Manto, the film, falls short of being a masterpiece, it’s ironically because Nandita Das the filmmaker does not quite crack the Manto code herself: she doesn’t quite see her subject with the same wholeness that Manto saw his people. ‘
    ‘This imperfection in the film, in a way, becomes the greatest tribute to Manto

  • This view of the supposed spiritual decay of our times, which is at the core of Gali Guleiyan, is thus more fashionable than perceptive…

  • A sense of injustice has been flaring in Mehta too since the time his face was blackened by Hindu fundamentalists. The face behind the black paint has since then, been his main subject.

    In Omerta, he tries to close in on those who smear the paint, and with that change in focus, he achieves something he hadn’t achieved yet.

    Something indescribable; something that terrorists and artists both die trying for: Salvation.

  • Sudhir Mishra is perhaps telling us that we are all politicians waiting for our chance at the podium and that it takes a real silly to see the absurdity of it all.

  • 3 Storeys is a movie of endless surprises: There’s one murder, one giant regret re-lived and regurgitated, and one devastating catastrophe that comes out of nowhere. But none of these high-points has any room for discharge.

    The dead man and the wailing lovers, all seem to be holding it back for the fear that the neighbours may hear them.

  • The best horror movies are ones that make you laugh as you scream — laughing presumably at your own screaming — but Pari doesn’t operate on that level.

  • Kadvi Hawa is intended to be a wake-up call, but look closely and it is also a chant.

  • As far as its final twist goes, Ittefaq is a whocareswhodunit but what it does have, as compensation, is the shock and suggestiveness of pulp served hot.

  • Rukh may be lit like a YouTube Short Film and may have its share of other technical problems, but there’s something disturbingly original about director Atanu Mukherjee’s vision

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