Directed by Vinay Shukla, While We Watched focuses on how journalist Ravish Kumar holds onto the basic tenets of ethical journalism in a country facing informational crisis and democratic backsliding. By Archit Nanda

Featuring artwork by some of India’s greatest artists, “Ink” at New Delhi’s Gallery Espace plays the role of a catalyst in thinking beyond the normative practices of art-making, art showcasing, and curatorial interventions. By Satarupa Bhattacharya

An exhibition of work by T.S. Satyan—dubbed ‘the father of photojournalism in India—presents him as an image maker who found lightness and joy in chaos. By Bindu Gopal Rao

Poetry by Sunil Sharma: ‘The moment // compresses the competing / time-zones and geographies; // unites the widely-apart views / into / a single landscape of converged / colours.’

In Hope for Sanity, a collection of columns filled with nuggets of wisdom, empathy, and advice, decorated former policeman Julio Riberio emerges as a “conscience keeper” for our nation. By Karan Madhok

Fiction by Divy Tripathi: ‘Suddenly, a new hunger arose inside. A desire for instant retribution enveloped him, a sudden need to right this particular slight. “I am not your servant,” he said. “Talk with respect.”’

Netflix’s Trial by Fire (2023) explores the true story of the 1997 Uphaar cinema fire and its long aftermath, presenting a heartbreaking narrative which shines brightest in its exploration of human intimacies. By Karan Madhok

Sakshi Nadkarni on Amitabha Bagchi’s Half the Night is Gone (2018), a tale of stories withing stories, both dense and sparse, a glimpse across many Delhis, a meditation on sorrow, fatherhood, self-reflection, and literature itself.

Personal essay by Sreelekha Chatterjee: ‘I had a habit of waking up at the slightest disturbance in the surroundings. In the wavering streetlight coming from the open doors at both ends of the room, there were silhouettes of ghastly figures shortening and lengthening.’

Delhi Crime is a breath of fresh air in its realistic portrayal of police investigation and the heroism of intelligent, emphatic cops. But the crime drama leaves a stunning blind spot about the brutalities, corruption, and systematic failures of the Delhi Police itself. By Karan Madhok

Short story by Asha Jyothi: ‘I don’t know what in the world I was thinking, but I look directly at him, and he holds my gaze, and looks at my naked teeth. “Pyar kiya, koi chori nahi ki.” I have loved, not committed a theft.’

In the work of Indian modernist master Gopi Gajwani, the art features a strong sense of swirling and distancing, one that emerges as a glimpse of an image that is at once illusive and difficult to escape. By Satarupa Bhattacharya