KEECHAR VERSUS GULAL

Satyabrata Ghosh analyses the following words spoken by the Prime Minister of India in parliament: “Keechar uskey paas t...

WOMEN INTERRUPTED

Monojit Lahiri investigates what constitutes the attitude towards women in film industries across the world and why women film...

A NOT SO QUIET PICTURE

Humra Quraishi questions the deliberate seeding of hate among different communities in India, which have lived in harmony for ...

BOLLYWOOD: IS THE ERA OF ROMANCE OVER?

Today, love appears to be less of sublime emotion, more of a consumer perishable along the FMCG line, says Monojit Lahiri

BE FLUID, BE YOU! KASHISH 2023

Call for submissions to Wendell Rodricks International Poster Design Contest 2023 Open: #TheDailyEyeNewsdesk

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DIVYA SETH SHAH: Actor for a Lifetime!

Aparajita Krishna is in this free-wheeling conversation with actor Divya Seth – packing her life, friends, family and ca...

On Watching Ponniyin Selvan

Satyabrata Ghosh reviews PS-1, a Mani Ratnam film, and discusses why such alternate content is of prime importance at a time w...

Memories of Underdevelopment

Sharad Raj writes, “Many consider Tomas Alea, the greatest filmmaker to emerge from Cuba and Memories of Underdevelopmen...

A Requiem For Mayfair Cinema

English movies which essentially meant Hollywood films (Hollywood being the benchmark for “good cinema” catering to the English-spe...