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?
Short story by Debi Mukherjee: “Unlike the little girls I see outside temples, draped in their pano bhaju’s stringing garlands of Marigolds, I dare not play with the flowers in our garden. Papa cautions me against the rows of Mogras, Shoe-flowers, Frangipanis and a multitude of others. He says that I must not be lured by a flower’s fragrance.”
Fiction by Tansy Troy: ‘It is his image which comes to me now, teaching me mastery over illusion, instructing me how to transform my present suffering into future fortune. When we met him in the flesh, he blessed me with the name Tashi Tsomo. Auspicious feminine ocean.’
In the late 2000s, Karan Madhok left home to travel alone around India, living off a backpack, sleeping in trains, searching for more of his country, and finding more parts of himself. In a photo-essay, he recalls why this ‘bharat darshan’ was the best experience of his life.
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