Sakshi is a sub-editor at the Outlook Entertainment Desk. She’s also a documentary filmmaker and mixed-media artist based in Mumbai.
Community is inherent to survival, and women have long been profoundly lonely—Abja and Her Pickled Eggs really understands that. The film takes a searing look at what it means to be a woman and the multitude of definitions it encompasses. More importantly, it asks if we ever stop performing.
Shen-Mo’s of Kibber, The Cave Within Me & Woven Dreams are documentary films from first-time filmmakers centring on local communities from the West and East Himalayas who embrace nature and thrive while preserving their heritage, illuminating how survival itself can be an art form.
Pálmason balances the tragic and the comic with enviable ease, letting absurdity and domestic mundanity sit side by side with heartbreak. The film doesn’t seek to explain why relationships fail; it asks what remains of them when they do.
On the grand stage of Bihar election 2025, acting, singing, and campaigning are no longer separate professions—they are overlapping performances within a shared economy of attention. It perfectly defines one of the strangest paradoxes of Indian democracy: that in Bihar, to be a politician often means to already know how to act.
‘Thamma’ dares to promise a love story it can’t quite justify, yet keeps one watching curiously, if perhaps it will redeem itself but that never happens. Maybe the real horror here isn’t the ‘betaal’, it is watching a once-great franchise lose their bite.
Bison Kaalamaadan (2025) adapts fragments from the real-life story of Manathi Ganesan and extends beyond biography. It becomes a requiem for those who gave it their all, to lose to a system stacked against them.
There’s a lot to admire in Good Fortune (2025). Its quiet sincerity, the way it commits to simplicity while handling such chaotic inner worlds, feels like a love letter to life’s unpolished truths. There’s a tenderness in Ansari’s humility before the unpredictable theatre of human existence.
While Tamannaah Bhatia’s Avantika in Baahubali: The Beginning is simply a role in a fictional film, an actress’s choice to inhabit a character still leaves them with certain responsibilities to the film, to the audiences and to themselves—raising questions of intent and complicity.
Hard-hitting and nuanced, these documentaries probe Hindu nationalism, the RSS, and BJP politics, exploring communalism, state power, and social tensions through history, personal stories, and investigative insight.
Amma’s Pride is political, tender and riotous. Over fifty screenings worldwide have moved audiences to tears, ignited conversations, and transformed indifference into empathy and advocacy.
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