S Janaki Amma: The People’s Singer
To me, Janaki Amma was the voice that carried me through exams, bus rides, heartbreaks, and joy
Current Issue
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A Pakistani Afterlife for Les Misérables
What arrives in Salakhain is therefore not quite the novel but its afterlife: a familiar arrangement of misfortune and moral arithmetic portable enough to cross languages, industries, and continents.
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Blueness on the Waiting-Shore: Sirai and the Carceral Sangam
In Sirai, the Tamil song becomes the precise space where the nation’s carceral suspicion is answered — not with polemic argument, but with radical intimacy
June Issue
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Inside IFAI, the Collective Taking on India’s Distribution Crisis
When we sat down with Kanu Behl on the day Agra opened in Indian theatres, it felt like one of those moments that might precipitate something bigger. Fortunately for Indian independent cinema, something bigger has precipitated.
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Frankenstein’s Film Star?
When a film star becomes too powerful to be vulnerable, does cinema itself suffer? A critical look at Vijay and the star system.
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On my Grief of Failing to Be – A Cars (2006) Retrospective
On Growing Up with Lightning McQueen
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SR Praveen has Seen the Reels Turn: A Conversation on Malayalam Cinema
SR Praveen about his book, Ticket to Kerala, film reviewing, and more.
April Issue
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From Ragamala paintings to Hindi film songs: Spring as a Time for Love
The piece show how spring has been visualised as a narrative tool to show different stages of love–from yearning to the culmination of love
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Getting lost in the city
Running away from home and homecoming in Ritwik Ghatak’s Bari Theke Paliye (1959) are metaphors for the cataclysm of Partition
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The Impossibility of Middle-brow Hip-Hop
There is no real debate on hip-hop’s place within the general culture. Most think of hip-hop as being a […]
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Three Films: A note on Motion and Stillness
How do you see the world if you don’t move through it? Perhaps, you see it as it moves while you remain still.
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The Transcendental Cinema of Arby Ovanessian
If the spectator of Chechmeh could live the transcendental content of the film, the film itself could give the spectator the poetic depth that he/she wishes to see.
