Understanding a twin subgenre: new- and mixed-gen cinema of Malayalam

Every era imprints its cultural vogue on its arts. Just over a decade following the onslaught of the information-technology wave thus the template of popular Malayalam cinema predictably underwent a radical change. Since someone has already coined a now-widely-accepted term for this revolutionary template, ‘new-gen Malayalam cinema’, I shall use the same term—even though it […]

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Polyphony in Time: Narrational Strategy in Adoor Gopalakrishnan’s ‘Anantaram’ (1987) and the Film’s Multiple Interpretations

Adoor Gopalakrishnan’s Anantaram (1987), his fifth film and its three preceding films have a common approach of a biography of an individual. They get deeper and deeper as we move from his second film onwards. While Kodiyettam (1978) follows the carefree Shankaran Kutty attaining maturity, in Elippathayam (1982), Unni is like a rat in a […]

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Narratives of change in Indian screenwriting

In the present landscape of Indian cinematic productions, the ever-growing number of female authors brings a fresh breath of air that comes with interesting stories, powerful female characters, and challenging perspectives on various social, political, and cultural aspects. The great benefit brought about by the digitalization of the Indian film industry, mainly of the processes […]

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Girish Kasaravalli — a kaleidoscope on societal foibles

Girish Kasaravallii I am not making a “perfect” film, I am making an “imperfect” film. To me, cinema is a powerful tool for challenging existing notions. -Girish Kasaravalli   True to his stated philosophy and approach to cinema, noted Padmashri Awardee Kannada Cinema auteur Girish Kasaravalli has been chiseling his cinema spotlighting on prevalent socio-political concerns, […]

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