Miss Man (2019) Review: Navigating a Complex Maze of Desires and Identities

Miss Man opens with a montage of faces and visions and soft caresses, following which we see our protagonist Manob sitting alone inside his room. He begins draping a saree around his body―a body that seems to be in open revolt against his sexual being―and sits looking into the mirror, perhaps the only place that allows him a glimpse of his real identity…

Homo Sapiens (2016): The Ephemerality of all Humankind

Homo Sapiens is a film where the titular characters are made all the more conspicuous by their absence, their physical reality not seen but felt nevertheless, like addressing the gigantic elephant (not) in the room. The closest we ever come to anthropomorphic presence is in a chamber filled with bottled jars preserving human and animal organs…

Twelve Foreign Films to start with for someone who’s never seen one

Some of the greatest films ever made in film history have not been made in the English language, yet most people that I come across are unaware of these gems due to these films not being popular enough, and because of a certain bias against watching films with subtitles. As Continue Reading

Bhonsle (2018): Manoj Bajpayee’s Tour de Force as the Lone Marathi Wolf

Manoj Bajpayee is Ganpat Bhonsle, a sixty-year-old man with thick-rimmed glasses, a thick salt-and-pepper moustache, dressed perpetually in white clothes, sometimes stained. Bhonsle is a man of few words and with an ever-pensive look. He lives in a dinghy tenement and is flanked by neighbours whose cultural identities are not homogenous…

The Leftovers – Damon Lindelof’s masterpiece is a must watch for the current times

“We all basically live in a world that we define by the people who have disappeared.” We live in very strange times now. Millions of people are contracting a deadly virus that we have no cure for, as of yet. Hundreds of thousands are dead and no one knows when Continue Reading

Sivapuranam [The Strange Case of Shiva] (2015): The Voyeur’s Gaze

Sivapuranam opens with a film projector, its light steadily intensifying until it becomes blindingly bright and a cut rescues us from vision impairment. It is a significant opening shot that establishes a central recurring object and, through the shaft of projected light emanating from the aperture, mirrors a key theme permeating the rest of the film: the gaze (the ‘ejaculatory force of the eye’, as Bresson called it), and the way it invades shared and personal spaces by way of fulfilling repressed desires and shaping reality.