Set against the landslide-prone terrain of Kinnaur, plagued by environmental collapse and infrastructural neglect, the short film Tenfa (2026) provides a vision of hope through memory, ecology, and community. By Sohini Sengupta

Propaganda films force upon us the grand question, writes Sanjay Basak: Are we loudly applauding the breathtaking production on screen, or are we quietly absorbing the idea that someone, somewhere, deserves to be feared, hated, or erased? 

With brutal carnage presented with celebratory beats, Dhurandhar: The Revenge pushes viewers towards a stony insensitivity, creating a sense of heightened tempo and exhilaration without moral recoil. By Abin Chakraborty

Tej Sisodia’s short film It’s Only 47° C highlights the dangers faced by India’s most vulnerable populations at the face of climate change. Sravasti Datta goes behind the scenes with the filmmakers to learn more.

From Dhurandhar’s Rahman Dakait to Shaurya’s Rudra Pratap Singh, Abin Chakraborty delves into Miltonic rhetoric to explore social media trends of heroism celebrated without moral rectitude.

The crimes are bigger and bloodier in Raat Akeli Hai: The Bansal Murders, and the motives even messier; but at its core, the film is a hollow reproduction of its genre predecessors, a familiar formula traced into an inferior product. By Karan Madhok

Through films like Viduthalai, Hazaaron Khwaishein Aisi, Virata Parvam, and more, Marnina (Avirup) explores how portrayals of the Naxalite Movement in Indian cinema confront the many under-represented fractures of our democracy.

Through sensitive character studies and relationships, Homebound and Sabar Bonda pose urgent questions about migration and the life-altering distances between the metro and the village. By Sarthak Parashar

Tripti Dimri has become the newest face of self-made stardom, paving her professional path with roles ranging from complex feminist heroines to objectified ‘items’ for the male gaze. With her career at a tipping point, can she avoid the industry’s pitfalls and rise to the apex? By Sneha Bengani

“Jai Mata Di, let’s rock.” Himesh Reshammiya’s career has come full circle: from topping the charts, to flops and cringe compilations, and back to dominating global rankings. By Himanshi Aggarwal

With the recent restoration and re-release of Umrao Jaan (1981), Himanshi Aggarwal revisits the film from a queer lens, as Rekha’s titular character serves as an allegory for anyone forced to perform respectability in a world that denies them legitimacy.

Bollywood has had a long history of finding “inspiration”—or barefaced plagiarism. Nivedita Dey recounts the many films, songs, and creators who imitated from the West (and more) and muses on the value of artistic originality.