The two films create a space where the girls reclaim their spirit, just enough to live a little.
Huzaifa’s heart-rending poem speaks of the angst, the silent, frustrating, regretful wait of entire generations.
Perhaps only a God-man could explicate who this land belonged to.
To a Calcuttan, the Delhi of 1967 appeared to have too much space and seemed bleak, lonely and not warm enough to endear.
The Bahariya Oasis is embracing modernity while still having its roots in the traditional lifestyle.
Renuka is the most brazen, uncouth, hot-headed woman portrayed of late on-screen.
The differences in the three poets do not create narrow domestic walls, rather open up a harmonious, polyphonic world.
Women write better than men. It is not just a statement. It is basic science.
The celebration is not just a festival, it’s a vibrant expression of tradition and culture.
A city like Hyderabad was not as small as our hamlet. Within the city and its outskirts, many things happened to which we were strangers.
Life as it is being lived, across cities and time zones has regressed into a performative act.
Virginia Woolf, in her seminal text, A Room of One's Own talked about equality, a literary career and financial freedom, thoughts which still influence feminist
Hyderabad's skies brim with colorful kites, joyous hearts, tilgul's sweetness, and traditions that echo unity during Makar Sankranti's radiant festivity.
Films should start a conversation. Any conversation is good conversation.
In the intricate tapestry of life, every thread represents a chapter, an event, or an opportunity to embark on a new journey.
This story in translation sheds light on the trails of the evils of the dowry system. Read the first part of this poignant tale.
