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Agra
(2023)
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Poulomi Das
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Agra marks Behl’s most controlled and fearless filmmaking to date. He studies behaviour with a rigour that borders on forensic, letting discomfort sit long enough to turn revelatory.
Posted Nov 20, 2025
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Sister Midnight
(2024)
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Poulomi Das
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It is a film that doesn’t believe in payoffs as a narrative rule, rather one that revels in its frenetic, at times, jarring disjointed quality. Ideas are held together less and embraced more for their vibes.
Posted Jun 13, 2025
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Amar Singh Chamkila
(2024)
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Poulomi Das
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By narrating the legend of the singer through his own music, one that has permeated a wider consciousness since his murder in 1988, Amar Singh Chamkila is both a staggering achievement and a return to form for Imtiaz Ali.
Posted Apr 20, 2024
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May December
(2023)
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Ishita Sengupta
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Nothing in May December is what it seems. The film unravels in the high-strung beats of a melodrama (Marcelo Zarvos’ music amping up the stakes) but embedded within are revelations fit for a slow-burn horror story.
Posted Apr 08, 2024
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To Kill a Tiger
(2022)
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Ishita Sengupta
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In the documentary, Canadian filmmaker Nisha Pahuja’s colonial gaze is bent on tailoring a narrative that would be more appealing to the West
Posted Apr 08, 2024
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TAYLOR SWIFT | THE ERAS TOUR
(2023)
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Ishita Sengupta
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The Eras Tour is a true-blue concert film which makes no allowance for backstage footage or space for space for interviews. There is no pause, let alone an interval.
Posted Apr 08, 2024
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Crew
(2024)
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Poulomi Das
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Crew is the kind of film that is built on several tiny radical acts, culminating into two hours that are equally rewarding and joyous. It is the most fun three women have had in Hindi cinema in a very long time.
Posted Apr 05, 2024
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All India Rank
(2023)
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Poulomi Das
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The point isn’t for any film to be more inventive than the other films like itself but rather to be inventive in its understanding of its own universe. Even when it feels disjointed and work-in-progress, All India Rank achieves that standard.
Posted Mar 01, 2024
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Anyone But You
(2023)
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Ishita Sengupta
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Will Gluck, who has earlier helmed films like Easy A and Friends with Benefits, trades inventive charm for empty predictability in his latest work.
Posted Jan 20, 2024
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Good Grief
(2023)
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Ishita Sengupta
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If Dan Levy's popular show Schitt's Creek made a compelling case of banking on goodness from the most improbable of sources, Good Grief extends that thought. At its heart, the film is a gentle exposition of the goodness of grief.
Posted Jan 07, 2024
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The Archies
(2023)
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Poulomi Das
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For a musical that revolves around seven teens, The Archies visibly struggles to transport or even sustain the idea of fun onscreen.
Posted Dec 08, 2023
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Khufiya
(2023)
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Poulomi Das
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On paper, Khufiya has nearly everything going for it but onscreen, the clunky screenplay leaves the lacking on several fronts. Over its bloated 158 runtime, the film never manages to match the promise.
Posted Oct 06, 2023
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Love Again
(2023)
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Poulomi Das
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Is the film successful in converting the stone-hearted into a believer? Not completely. But it does get sufficiently close.
Posted Sep 09, 2023
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Aftersun
(2022)
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Ishita Sengupta
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'Aftersun' depicts an unvarnished portrait of a young man grappling with responsibilities, struggling to hold on to his own life while willingly shouldering responsibility of another.
Posted Jul 20, 2023
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Mission: Impossible - Dead Reckoning Part One
(2023)
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Poulomi Das
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There are no new surprises in the new MI instalment -- in fact, McQuarrie assembles the film more as a fan than like a maker, distilling it down to its greatest pleasures.
Posted Jul 14, 2023
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Fire in the Mountains
(2021)
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Poulomi Das
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Fire in the Mountains, Ajitpal Singh’s gorgeous, startling debut feature, begins with a negotiation and ends with one. In between, desire, dread, and desperation coalesce to paint an evocative tapestry of protest art.
Posted Jun 13, 2023
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Family
(2023)
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Poulomi Das
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Both as an unsettling portrait of a rural Christian community bound by faith and hypocrisy as well as a relentless character study of human transgressions, Family sees Palathara return to his assured form of filmmaking.
Posted Apr 07, 2023
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Kuttey
(2023)
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Poulomi Das
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Every frame, every moment of Kuttey is designed to impress, sometimes at the risk of making it overstuffed or indulgent. The film possesses the kind of style that sacrifices substance.
Posted Jan 20, 2023
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Govinda Naam Mera
(2022)
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Poulomi Das
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If Govinda Naam Mera feels like it undermines its own potential, it’s solely because of the disconnected storytelling. The crucial problems that afflict the film feel like standard Dharma Production missteps.
Posted Jan 05, 2023
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Avatar: The Way of Water
(2022)
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Poulomi Das
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What you make of Avatar: The Way of Water depends largely on whether you’re inclined to give Cameron the benefit of doubt. In that, the film proves that there are some things that Cameron gets right, he does so with faultless precision.
Posted Jan 05, 2023
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