Romance, the backbone of Bridgerton, languishes as the fourth season refuses to rework class relations in the face of Sophie and Benedict’s love story. Where love once conquered all tensions and differences in previous seasons, it now shies away from confronting class conflict, ultimately implying that the chaos of class restructuring is not intrinsically pleasurable.
The first part of Bridgerton Season 4 successfully offers its women spectators a ground to feel with their bodies, to imagine being touched, loved, dreamt about, and drawn not as muses but as subjects and objects of desire in their own right.
This Netflix procedural-thriller challenges the false narrative that casts lower-level officers as covetous and crooked, focusing instead on revealing similar forms of corruption among the ranks of commissioners and assistant commissioners.
This eight-episode series on Sony Liv straddles supposedly incompatible thoughts—Kashmir as part of India and Kashmir as a land belonging to its own people—with an understated poise.
If masculinity and femininity are two sides of a coin, then Mammootty’s Stanley exists on the edges of that coin. His heavy, dominant body towers on the margins of the screen as he tenderly twins with a devouring femininity that facilitates the rhythmic and cool procession of killing.
On Smita Patil’s birthday, we take a look at few of her songs from her final years of life to remember traces of her laughter, anguish, sensuality, and mischief.
In Lord Curzon Ki Haveli, the imaginative import lies in Rasika Dugal’s performance of Ira. As her instinct reigns supreme, repressed desire finds release and rage overwhelms the body, Ira—a domesticated wife—violently vindicates her enslaved self.
Creating a hierarchy between the lead pair (Janhvi Kapoor and Varun Dhawan) and a corresponding second pair (Sanya Malhotra and Rohit Saraf) is narratively and cinematically detrimental to Shashank Khaitan’s film.
This eight-episode Netflix series delicately upends our notion of maternal care, infusing ambiguity and roguery in the process of mothering.
The film’s success lies in deriving an absurd tenderness from dark humour to construct a refreshing form that dissects the breakdown of relationships by conducting a fascinatingly gentle post-mortem.
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