The show, streaming on JioHotstar, is a missed opportunity. It had the chance to say something about the perils of being a girl in modern India; instead, it settles for the safe familiarity of a procedural chase.
About The Author
Debiparna Chakraborty is a film, TV, and culture critic dissecting media at the intersection of gender, politics, and power.
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Despite its cinematic clumsiness, ‘Dahini’ matters. The very act of putting this violence on screen—of demanding visibility for a horror that thrives in silence—is political.
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The tonal range between slapstick, satire, and cringey awkwardness is what keeps Splitsville on its feet.
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BIFF 2025 | Anoop Lokkur’s Don’t Tell Mother is both a love letter to childhood and an unflinching look at its shadows.
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The Ba***ds Of Bollywood Review | Aryan Khan’s Satire On Industry Glitz Bursts With Masala And Chaos
It is a high-energy, meta-driven opening hour that’s equal parts fun and exhausting, made for those who keep up with the Bollywood gossip brigade more than their family Whatsapp group dramas.
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Freaky Tales unfolds as four interconnected narratives, each eccentric in its own way, stitched together by the looming presence of fascist forces.
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Venice Film Festival 2025 | Grand Ciel is a commentary on the quiet brutality of capitalism’s dispassionate machinery, of disappearing worker rights, and the cost of countless human lives caught in the loop.
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Alfred Gough and Miles Millar’s Wednesday can still be a ghoulish delight, thanks to strong casting, sharp performances, and artistic flourish. But the series undermines its own strengths and teeters closer to being television engineered for distraction rather than immersion.
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Alongside films like Thelma and series like Only Murders in the Building, The Thursday Murder Club offers something we need more of—silver sleuths as protagonists.
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The angry reactions to the trailer of ‘Param Sundari’ on social media only prove that Bollywood cannot keep claiming cosmopolitanism, while clinging to its arrogant Hindi hegemony.
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