There are films you simply watch, and then there are films you inhabit. Hirokazu Kore-eda’s Monster (Kaibutsu) falls squarely into the latter category. It is a film of such delicate, intelligent treatment that it doesn’t just tell you a story;
I finally ended up watching Nosferatu (2024) last night, and trust me, as a parent of a two-year-old, just finding the time and mental space to sit down with a proper horror film feels like a minor miracle. Half the
With everything going on lately—the an another India-Pakistan war, the nonstop flood of news, fake news, and bold claims from both sides—I’ve been completely consumed. It’s overwhelming. And while I don’t support war in any form (I mean, sure, both
Poor Things is like a quirky, surrealist painting you just can’t stop staring at, its weird, wonderful, and strangely hypnotic. From the very first frame, I found myself weirdly captivated. It’s bizarre in the best way possible, completely offbeat yet
Kothanodi is dark, twisted, and disturbing. It is a brilliant attempt by first-time director Bhaskar Hazarika to bring four Assamese folktales to the visual medium. The film has a dark undercurrent that keeps you constantly on the edge, creating a
Parag Sankhe: Producer & Director