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- Temporary ‘Varisu’ post
- Temporary ‘Thunivu’ post
- Readers Write In #537: My journey with ‘Ponniyin Selvan’, from watcher to reader to writer
- Interview: Rima Das
- From the Web (FTW) #1: Rahul Gandhi and Kamal Haasan in conversation
- About the movies – 1969 / 2022
- Readers Write In #536: My favourite Hindi films of 2022
- Happy 2023, everyone!
- Mega Critics Roundtable 2022, by Nona Prince
- Interview: Hrithik Roshan
- Readers Write In #535: Love today…Wait, what love?
- Readers Write In #534: Balls of Steel
- The Galatta Plus Tamil Cinema Round Table 2022
- Readers Write In #533: The Boy Who Cried Film
- Rohit Shetty’s ‘Cirkus’ has a few scattered laughs and a lot of really dull patches
- Interview: Sunny Leone (Oh My Ghost)
- The emotional stakes are low, but as a scare-dispensing machine, Ashwin Saravanan’s ‘Connect’ does a pretty decent job
- Readers Write In #532: Ending of ‘Better Call Saul’ Explained
- Interview: Ashwin Saravanan (Connect)
- In ‘Avatar 2: The Way of Water’, James Cameron continues to push movie technology while remaining content with the most generic writing
- Readers Write In #531: A few thoughts on ‘Goodbye’
- Interview: ‘Travels’ Ramji Natarajan (Location finder for RRR, Dilwale, Endhiran, etc.)
- Mahesh Narayanan’s ‘Ariyippu’ (Malayalam) is a wonderful “thriller” that strips away all thrills to present a realistic portrait of a migrant couple
- Readers Write In #530: Kantara: A Socio-Ethical Perspective
- My Top 10 list of films for the Sight & Sound poll, 2022
- Anvita Dutt’s exquisite ‘Qala’, on Netflix, puts us into the state of mind of a disturbed playback singer
- Deepak’s well-researched ‘Witness’, on SonyLIV, is a story about manual scavenging that’s more earnest than emotional
- The Galatta Plus Pan-India Round Table 2022
- Readers Write In #529: Thoughts on GASLIGHT, RANGOON RADHA
- Readers Write In #528: Thoughts on Love Today (Film)
- Alphonse Puthren’s ‘Gold’ (Malayalam) has a lot of big ideas but they don’t come together as a satisfying whole
- Interview: Guru Somasundaram (Winner of ‘Best Actor’, India, at the Asian Academy Creative Awards)
- Vivek’s underwhelming ‘The Teacher’ (Malayalam) might have worked better as a pulpy B-movie than a “serious film with good intentions”
- Readers Write In #527: Gold – An overlong and indulgent comedy that only shines in parts!
- Interview: Suresh Krishna (‘Baba’ re-release)
- Readers Write In #526: A ‘nauseating’ history, a memoir
- Interview: SJ Suryah, Pushkar-Gayathri, Andrew Louis (Vadhandhi)
- Prithvi Konanur’s superb ‘Hadinelentu (Seventeeners)’ opened the Indian Panorama section at IFFI; it’s about a leaked sex tape, and is a scalpel-sharp dissection of caste
- Prasun Chatterjee’s Dostojee is a moving, lyrical drama about a childhood that struggles to transcend communal tensions
- Jeo Baby’s terrific ‘Sree Dhanya Catering Service’ is a funnier, more free-flowing take on ‘The Great Indian Kitchen’, with men doing the cooking this time
- Readers Write In #525: Jaya Jaya Jaya Jaya Hey- An obscene class narrative masquerading as gender rights story
- Readers Write In #524: A translation of Jeyamohan’s ‘Sivam’
- Anjali Menon’s intermittently effective ‘Wonder Women’, on SonyLIV, is best enjoyed as an experiment in narrative technique
- Senna Hegde’s ‘1744 White Alto’, with Sharaf U Dheen, is a kind of stoner comedy where some jokes land big-time while others feel forced
- R Kaiser Anand’s ‘Anel Meley Pani Thuli’, starring Andrea Jeremiah as a rape survivor, on SonyLIV, is a strong story that needed stronger writing
- Interview: Vetri Maaran, Andrea Jeremiah, Kaiser Anand (Anel Meley Pani Thuli)
- Readers Write In #523: How fiction and non-fiction complemented each other in building my politics
- More than enough
- Interview: Abhishek Bachchan (Breathe: Into the Shadows)
- Vasan Bala’s ‘Monica, O My Darling’, on Netflix, with Rajkummar Rao and a top cast, is a very enjoyable ‘retro’ murder-mystery, propelled by a super-retro score
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