The abuse faced by Dangal actor Zaira Wasim is a reminder of Kashmir's struggle with freedom of expression. This struggle reflects in its silent cinemas, shuttered since 1989.
My sons and I love watching Bollywood movies together, but finding a film devoid of misogyny, objectification of women, and innuendo is a task. How do I explain to my kids what is wrong with “6 din, Ladki in” when SRK is mouthing it as if it’s the most chivalrous way to woo a girl in Kal Ho Naa Ho?
Nitesh Tiwari’s Chhichhore is an unabashed acknowledgement of male failure. If Dangal eulogised individual glory, Chhichhore contradicts it, attempting to universalise an oft-neglected fact: Even losing is a sport.
Saand Ki Aankh's translation of female emancipation suffers from a case of “being written by men”. By which I mean that it doesn't realise that it is mocking its two leads in the guise of celebrating them. The film would have been easier to write off had it not been for the distinctive, affecting performances by Bhumi Pednekar and Tapsee Pannu.
In the last three years, Sanya Malhotra has acted in films like Pataakha and Badhaai Ho, which offer a testament to her versatility. Now with her extraordinary performance in Ritesh Batra’s Photograph, the actress is finally ready to step out of Dangal’s shadow.
The Supreme Court has held that standing up in theatres for the national anthem, is akin to enforced patriotism. Can I now hold my hand over my heart, as I sit on my seat? Or will I still be considered anti-national?
Women in sports are making up for lost time by smashing records while stoking the pride of the nation. From the on-field exploits of Mithali Raj and Harmanpreet Kaur, to the athletic feats of PV Sindhu, Hima Das, Mary Kom, and their peers, female athletes have forced naysayers to eat their words.