Cinemascope

 Aravindan’s gently observational, lyrical and understated docufiction Thampu delicately straddled between fact and fiction. Alongside its ...

 John Abraham didn’t just embody his trailblazing mentor Ritwik Ghatak – his cinematic dare, blazing left-wing politics, defiant anti-establ...

 Payal Kapadia’s training in filmmaking, her love for cinema (and slow cinema in particular), her feminist perspectives, and her bent toward...

 Jeo Baby, with Kaathal , took a diametric turn from his magnificent previous film The Great Indian Kitchen , while also complementing it in...

  Aattam is based on the topic of sexual harassment at workplace. But, what made Anand Ekarshi’s assured debut feature an especially riveti...

 Sajimon Prabhakar merged the sub-genre of disaster/survival movies – one that’s not very common in Indian cinema – with strong social comme...

 Vipin Das’ darkly humorous film – its playful title, by ironically referencing to a line from the national anthem, highlighted how women ar...

  Pada is that enthralling “political thriller based on true events” where all the three components of the sub-genre worked brilliantly bot...

 Dileesh Pothan’s Joji was as much a macabre and darkly funny crime thriller, as it was a commentary on patriarchy and masculinity, the arr...

  The most impish joke – and a darkly ironic one too – that Keralite filmmaker Jeo Baby pulled on unwitting viewers was cannily naming this ...

  Lijo Jose Pellissery’s Angamaly Diaries is purportedly a crime drama and gangster film; however, what, perhaps, the director essentially ...

Sasidharan’s S Durga is drenched in bleak nihilism, psychedelia and angst – so much so, that it jolts you as much by its confrontational ae...