Author Archives

Bedatri Datta Choudhury

This Movie Is A Homework Assignment - Joshua Reed Short Film

The Private Month: A New Generation of NYU Filmmakers Creatively Address the COVID-19 Pandemic

“For the next generation of filmmakers, documenting these strange times has just begun, and, thankfully, it’s going to be a physically distant but socially collaborative enterprise.”

I Was at Home, But... Movie Review - 2019 Film

On the Calamity of Life: Angela Schanelec’s ‘I Was at Home, But’

“A film like ‘I Was at Home, But’ tests its audience and never tells them if they’re right, and therein lies the challenge. The point is not to “get” the film but to have thought about it and come up with a whole array of personal truths.”

The Last Color Movie Essay - Vikas Khanna and Anuj Tyagi 2019 Film

What’s Age Got to Do with It: Neena Gupta in ‘The Last Color’

“Gupta, with her immense treasure of emotions and movements, brings to life the dichotomies of extreme pain and extreme joy, and makes it all seem so relatable that it’s difficult to hold back tears.”

Bhoga Khirikee Movie Review - 2018 Jahnu Barua Film

Jahnu Barua’s ‘Bhoga Khirikee’ Peeks Into An Insurgent Assam

“There is seething, justified anger that underscores the plot of ‘Bhoga Khirikee’; an anger that could be used to create extremely radical female characters who pull the plot forward instead of becoming cardboard stand-ins for the filmmaker’s radical politics.”

Aamis Movie Review - 2019 Bhaskar Hazarika Review (Ravening)

Eat Meat / Man, Woman: Bhaskar Hazarika’s ‘Aamis’

“Hazarika’s is a voice that comes from outside of the Bollywood canon and reverberates sharp and hard throughout the cinemascape of the country. May it grow only louder.”

Blinded by the Light Movie Review - 2019 Gurinder Chadha Film

‘What Would Springsteen Do?’ and Other Questions: Gurinder Chadha’s ‘Blinded by the Light’

“While Springsteen takes the American dream and helps everyone navigate through its dismantling, Chadha packs it all up with ‘Blinded by the Light” and makes it speak to an entirely different country and a whole new generation.”

TIFF 2018: Director Laura Luchetti on ‘Twin Flower’ and the Art of Giving Shape to a Story

Bedatri Datta Choudhury Interviews Italian Director Laura Luchetti

TIFF 2018: Like the Hope of Rain After a Long Summer – A Review of John Butler’s ‘Papi Chulo’

“Apart from fantastic performances from its cast, especially Bomer and Patiño, Papi Chulo’s biggest strength is the subtlety and grace with which it deals with the wide cross-section of issues it touches upon.”

TIFF 2018: The French Affair – A Review of Louis Garrel’s ‘A Faithful Man’

“Within the power plays of a self-aware love triangle, Garrel examines love, sex and companionship and tries to get to a point where everyone meets and exists in perfect harmony. It’s a tug of war between these three, and the final result is basically a test of which one outlives the others.”

TIFF 2018: The Never-Ending Ruminations of Olivier Assayas – A Review of ‘Non-Fiction’

“For a film about an eternal conflict, ‘Non-Fiction’ is a strangely calming film. It quietly assures you that while a fight for permanence is natural, the need to change is also equally natural.”

New York Indian Film Festival Review: Hansal Mehta’s ‘Omerta’

“What could’ve been an intense peeking into the mind of a terrorist ends up being a somewhat naive, clinical recording of his wrongdoings.”

New York Indian Film Festival Review: Miransha Naik’s ‘Juze’

“‘Juze’ tells the story of an India we don’t often see in films, but an India that hurts, suffers and yet revolts and thrives.”

New York Indian Film Festival Review: Bornila Chatterjee’s ‘The Hungry’

“For a play that is so much about macho-ness and the male code of honor, it is refreshing to watch Chatterjee give it a somewhat feminist tweak.”

New York Indian Film Festival Review: Ravi Jadhav’s ‘Nude’

“‘Nude’ is a caveat to our times; a warning that we are driving arts education to a point of redundancy with our politics…”

Calendars, Storms and Coming Home: Rituparno Ghosh’s ‘Unishe April’

“To understand Ghosh’s cinema, it is important to understand the director’s gradual but persevering separation from gender binaries and roles.”

Real, All Too Real: Rakhee Sandilya’s ‘Ribbon’

“Within the context of a cinema that is high-strung and often defined by its over-the-top, spectacle-driven family dramas, ‘Ribbon’ and its smallness (and everydayness) is not just a refreshing break but an extremely well-timed breaking of the mold.”

The Story of the Girl Named Blue: Danish Renzu’s ‘Half Widow’

“Renzu’s film gives a face to the thousands of women featured in the papers, disturbingly called ‘half widows’ — not just defined by the lack of a husband, but also by this ‘half,’ not full, not a complete status of being.”

Murphy’s Law and the Man Who Murdered Himself: Nikhil Nagesh Bhat’s ‘Long Live Brij Mohan!’

“If Murphy’s Law were to be made into a film, it’d look a lot like Nikhil Nagesh Bhat’s ‘Long Live Brij Mohan!’ His production, in more ways than one, is also a metaphor for the city of Delhi.”

The Song of the Cloud-Capped Mountain: Anushka Meenakshi and Iswar Srikumar’s ‘Kho ki pa lü’

“‘Kho ki pa lü’ is about a lot of things, but it’s mostly about music. It is about Li, the songs that people sing when they cultivate rice in small müles.”

When Hansel and Gretel Live in a Bus: Paakhi A. Tyrewala’s ‘Pahuna: The Little Visitors’

“In a country whose cinema is often just classified under the homogenous canopy of ‘Bollywood,’ a film in Sikkimese is not only a welcome change but also a political reversal of existing canons. It is a small but eventful beginning, a small step towards a more inclusive ‘Indian’ cinema.”