With the Ramayan and Mahabharat back on TV, Karan Madhok writes about the importance of celebrating the complex fictions of the myths, rather than accepting them as gospel truth.

Perhaps there is no greater entertainment that an Indian family fighting for the remote control. From the first cable connection to OTT streaming, Shubham Pal recalls his childhood and family life in front of the television set.

Anubhav Sinha’s Thappad (2020) raises questions on our conditioning and deeply-ingrained patriarchy, reminding us that abuse in a relationship comes in all forms—physical, emotional, blind to class or caste. Review by Nidhi Choksi Dhakan.

Set out with potential to challenge Indian societal norms, Nitin Kakkar’s Jawaani Janeman instead ends up ‘settling down’ - in disappointing fashion. Review by Nidhi Choksi Dhakan

A megacity seen through the eyes of its dreamers - Ankur Choudhary writes about dreams, nightmares, hope, and despair at interplay in some of the best cinema about Mumbai.

Past and present, real and unreal, urban and rural, and life and death clash to present Mehsampur, Kabir Singh Chowdhary’s unforgettable film out of the Punjabi heartlands. A review by Karan Madhok

Presenting: The Chakkar’s Top 10 favourite Hindi films of the 2010s - by Karan Madhok and Prateek Santram

The third season of Little Things forays into deeper issues in an Indian millennial relationship - writes Nidhi Choksi Dhakan

‘Music, Masti, Modernity: The Cinema of Nasir Husain’ was published in 2016 - here’s an excerpt from this Akshay Manwani’s biography on Husain’s musical inspirations and influence on the history of Indian films.