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.
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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.
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This eight-episode Netflix series delicately upends our notion of maternal care, infusing ambiguity and roguery in the process of mothering.
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The Roses Review | Olivia Colman And Benedict Cumberbatch’s Film Is Wickedly Humorous, Softly Bitter
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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Afraid of being political, Kayoze Irani's latest film, released on JioHotstar, hesitates to explore what it means for a young man to have a complicated heritage as the child of a military father and a militant mother.
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The everyday political rhetoric of “us” vs “them” could have been powerfully neutralised by Tanvi’s honesty and integrity, but the film remains largely unimpressed by the potential of its protagonist’s subjectivity.
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Sanjay Leela Bhansali's epic version of Sarat Chandra Chattopadhyay's novel is remembered through its songs—the songs endure, and only through them does the romance endure.
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The film’s biggest draw is the historical and political significance of the work of the Phules, which makes audiences turn a blind eye to how their story is told and focus on what their story is about.
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A Personal Account Of A Ride To The Cinema
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In Mickey 17, Bong adopts a clinical approach as he tells the tale of a body sacrificed to science.
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