This time we have interviews, a personal essay, a short story, film analysis and art.
Rafaella Britto takes us to the hedonistic Weimar era. She introduces us to Liza Minnelli, and the movie that made her an icon: Cabaret.
Rafaella Britto nos leva para a era hedonista de Weimar. Ela nos apresenta a Liza Minnelli e o filme que fez dela um ícone: Cabaret.
Actor, writer, director Paavo Westerberg talks to Ramchander about film, art, emotionally honest storytelling; allowing us to get acquainted with his unique perspective.
Anusha chats with TJ Murphy, Director of Programming at Reel Q, an organization that aims to showcase “media by and about lesbian, trans and gay people and their experiences.”
Athiyan interviews Tamil writer and film enthusiast R. Abilash. This conversation touches on politics, caste, love, and more; rooted in the sociocultural context of Tamil Nadu today.
தமிழ் எழுத்தாளர், சினிமா ஆர்வலர் ஆர். அபிலாஷூடன் அதியனின் நேர்காணல். தமிழகத்தின் தற்போதைய சமூகக் கலாசாரச் சூழலில் வேரூன்றி இருக்கும் அரசியல், சாதி, காதல், போன்ற பலவற்றையும் தொட்டுச் செல்கிறது இந்த உரையாடல்.
Martha interviewed Sandra Bertalanffy, creator of the web series Kynnstlah.
Artist and graphic novelist Sonny Liew shares a few of his comic strips with us.
Upamanyu takes us along as he writes about 26 movies that have stayed with him, one for each letter of the alphabet; accompanied by his stunning artwork.
Priyadershini Deivakumar recreates scenes from the Austrian film Fly Away Home, and takes us through her process.
Mukesh Manjunath was once a boy who watched too many movies. He writes a personal essay about the cinema that made him.
Ramchander wonders why we seem to be seeing the same few stories over and over, when there are several more unfolding at any given moment in Chennai.
Anusha Srinivasan writes about Sancharram and Trembling Before G-d, films that talk about oft-ignored stories.
Martha reports from die Seriale, the oldest festival in Germany dedicated to independent web and digital series.
A short story by Sithuraj Ponraj, in which he gently satirizes an obsession with K-pop, while riffing on romcom and horror genre writing.