Vanaja (2006) is a quiet little film that has conquered its own domain, won its own set of hearts with its sheer brilliance in thematic and visual execution and perhaps gained an entry to the list of best films of that year. Mamatha Bhukya’s stellar performance elevates the film to extraordinary levels and it is evident that she can teach any so-called-veteran mainstream actresses a thing or two. The film carefully avoids all clichés and shows us that one need not treat independent films condescendingly.

It’s monsoon season in Delhi and the extended Verma family reunites from around the world to celebrate the arranged marriage of one of their daughters – This vibrant wedding turned out to be one that the world of cinema eagerly watched and joyously celebrated. After the universal success of Salaam Bombay and Kamasutra: A Tale of Love, Mira Nair came up with the glamorous Monsoon Wedding and struck a cord with Indian and Western audiences alike. The film shows four days and nights leading to an upper class Punjabi Wedding…

There are some films that perhaps may not be of much value in terms of contribution to the evolution of cinema, but they are simply great because they make the writing on the wall more prominent than ever before. A Wednesday is one such thought provoking film that is bound to make the common man think – to purge ourselves of the habits of making compromises, surrendering to our fates and giving up on ourselves as the initiators or drivers of a change badly needed.

What is more surprising than the fact that Ray’s films are universally accepted with open arms and considered timeless is the fact that a large part of the west is able to relate only to Satyajit Ray whenever cinema of India is discussed. Similar to how Satyajit Ray’s phenomenal body of work eclipses all other commendable efforts from the country, his own Apu trilogy overwhelms his other worthy films. Case in point – Mahanagar (1963). Mahanagar is a decidedly contemporary story of a middle class couple

“Long years ago we made a tryst with destiny, and now the time comes when we shall redeem our pledge, not wholly or in full measure, but very substantially. At the stroke of the midnight hour, when the world sleeps, India will awake to life and freedom…” Sudhir Mishra in his 2005 film Hazaaron Khwahishen Aisi, stepped in to boldly and magnanimously challenge Nehru’s noble proclamation. If Nehru were alive, he’d have regretted to overlook, that at the stroke of the midnight hour…

An autobiographical inspiration of the 1940’s famous actor Hansa Wadkar who joined the pompous film industry in order to support her on the breadline family, the film goes to show an adapted form of the same as Usha, stunningly played by Smita Patil who takes on solely, the survival of her financially trodden family, after Keshav (Amol Palekar) the family supporting intruder ( who is later her husband) delivers her into an existence surrounding the overwhelming lights, camera and action of Bombay…

Pather Panchali (Song of the road) the first in the pack of Satyajit Ray’s celebrated ‘Apu Trilogy’ is a vividly mellifluent poem come alive in the form of daintily impeccable pictures. Rarely can a film maker capture the substance of every day life, and define it with the niceties of unfortunate domestic circumstances, raw and carefree childhoods, ancestral and rural set ups, charming and resonant characters - all with a simplicity that is eminently etching, consequently if Ray stands at the pedestal of impactful film making, it is generously for this reason

Choker Bali meaning Grain of Sand, Tagore’s marvelous work is the quintessence of love and everything that is wrapped around its intricate enfold. Simple love, tempestuous desire, impatient longing, and agitating seduction are only some of the strokes that Tagore’s masterly brush paints within this brilliant book, within our tender hearts.
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