உலக சினிமா, எதார்த்த சினிமா, சுயாதீன சினிமா, தமிழ் சினிமாவின் தற்போதைய நிலை, ஒளிப்பதிவு அணுகுமுறை என்று வெவ்வேறு தளங்களைத் தொட்டுச் செல்லும் உரையாடல்.
Mitsu visits some of Old Delhi’s single screen cinemas and comes back with pictures.
Amit Agarwal takes a close look at Mrinal Sen’s 1982 film Kharij.
Ramchander’s notes from Sg.SAIFF 2018.
Ramchander met the filmmakers when they were in Singapore, for Sg.SAIFF 2018.
A short essay by Sara Siddiqui Chansarkar, about the potent power of nostalgia, and a song from the Hindi film Pakeezah.
He composed our magazine’s theme music! But we spoke to him about other things too.
Manishankar Prasad looks at how the Indian diaspora in the Middle East consumes films.
Naveena Vijayan watches a gourmet film that leaves her hungry.
Gayathiri looks at how this issue is presented in The Red Thread (Spanish) and Sathi Leelavathi (Tamil).
Pradheep reports from the Chennai International Queer Film Festival 2018.
சென்னை சர்வதேச குயர் திரைப்பட விழாவில் இருந்து பிரதீப் பாலுவின் குறிப்புரை.
Ramchander argues that Pa Ranjith’s filmography is never lacking in form, even if such complaints abound.
Ramakrishnan takes us on a tour of Art Deco theatres in South Mumbai.
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.
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.
Vishwanathan shares with us memories and pictures of theatres in Nagercoil and Chennai. Allow him to take you places!
Jiya writes about her fascination for Horror stories, and why the movie Pari brings some freshness to this genre.
Nilavazhagan writes in great detail about the artistic choices that make the Tamil independent film Revelations stand out.
Ramchander shares with us his notes from the Singapore South Asian International Film Festival 2017.
Anusha Srinivasan writes about Anand Pandian’s Reel World, which is an anthropologist’s examination of Tamil cinema.
Athiyan writes about Ashokamitran’s novel Karaindha Nizhalgal, which looks at the lives of those on the peripheries of the Tamil film industry.
A short story by Sithuraj Ponraj, featuring the beloved Nargis Dutt, one of the doyens of Hindi cinema.
Rafaella Britto writes about Devi, the Satyajit Ray movie that explores the relationship between femininity and divinity in a patriarchal society.
Aashish Gadhvi examines how Hindi cinema portrays the Indian abroad, and how this has changed over the years.
Maanasa Visweswaran pays tribute to Deepa Mehta’s Earth (1998), a film that continues to resonate with her.
Lopamudra wonders why the beloved fictitious Bengali detective Byomkesh Bakshi has never enjoyed a successful transition to cinema.
Athiyan writes about his experience of reading a Tamil translation of Chemmeen, the Malayalam novel, and watching Chemmeen, the classic Malayalam movie.
Jeyannathann Karunanithi writes about the politics of the Tamil movie Kabali. He argues that we must familiarize ourselves with the socio-geographic-historical landscape of the movie before we pick it apart.
Anusha Srinivasan attempts to understand Indian actor Aamir Khan’s popularity in China.