Unlike the novel or Satyajit Ray’s film, where the politics of the author is not only blatant but his allegiance is foregrounded, Aparna Sen is more nuanced, less blatant in her adaptation of Gharey Bairey.
If a hero is what a hero does, he is also the way he is perceived: the gaze not only elevating him but also putting a shroud of impunity over his misconducts. In Kumbalangi Nights, this gaze — unquestionable in its devotion — is corrected.
Affection, like other cousins of love, has its own private language. Unlike the linguistic specificity of love, whose mere admission serves as manifestation, sometimes, affection eludes such succinct expression.
Rooted in debilitating relationships is the bond shared by Fleabag and Claire. But it is the dysfunctionality, often regarded as the fundamental and accepted tenet of sisterhood, that makes the relationship most functional.
Much like Shoojit Sircar’s film Vicky Donor, Ashwin Shetty’s latest film Badnaam Gali uses humour to inflate the narrative as well as to draw the point home. Snarky lines and impressive performances do manage to keep one invested.
Tishani Doshi’s latest novel, Small Days And Nights is a deeply layered work underlining the existence and experiences of outsiders, their inability to belong, that often later transforms into their refusal.
Sanjoy Nag’s Yours Truly does not view loneliness as a condition contingent on something, rather as a continuous, pervasive state of being, and succeeds in presenting an intimate portrayal of loneliness and the lonely.