In this Frank E. Flowers film streaming on Amazon Prime, insipid and uninspired writing drains urgency from scenes that should crackle with tension.
About The Author
Debiparna Chakraborty is a film, TV, and culture critic dissecting media at the intersection of gender, politics, and power.
Madhubala’s stardom was not just national mythology. In a potent illustration of pre-internet global fandom, her star image also travelled in unexpected ways to far off places like Greece.
The Hindi cinema music scene has devolved tremendously in the last decade. Where 2016 offered full-bodied albums that ranged from being emotionally maximalist to thematic, much of today’s output is engineered for virality rather than longevity.
In a TV-scape that is scattered with high-profile crime dramas struggling to justify their continuations, Kohrra does something rare and actually ups the stakes by digging deeper.
Marijana Jankovic’s Home, which had its world premiere at the International Film Festival Rotterdam, is an emotionally astute debut that is comfortable observing rather than being incendiary or confrontational.
In the present, the truth may get drowned out by applause but history has a longer memory. Figures like Madhavan will be remembered for what their creations came to represent at a fraught historical moment in time, technical finesse of their art be damned.
Catherine O’Hara was and will continue to be loved because she played women who carried history in their posture, enjoyed power and moved through the world with a sense of entitlement rarely portrayed by female performers from her time.
Daldal could have been a sharper critique of how institutions fail vulnerable children, how complex trauma and gender bias shapes our lives. Instead, it ends up reinforcing some of the very associations it seems to interrogate.
The escalation is steady, old-fashioned, and deeply satisfying if you’re someone who misses commercial thrillers that trusted audiences to keep up.
The History of Sound manages to handle grief and loss with lilting grace, particularly in its refusal to dramatise pain. However, the film remains far too emotionally restrained for its own good.
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