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Date
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2021-09-07
192.241.185.193
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2024-08-05
178.128.191.240
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HTTP/1.1 301 Moved PermanentlyServer: nginxDate: Mon, 05 Aug 2024 12:43:50 GMTContent-Type: text/htmlContent-Length: 162Connection: keep-aliveLocation: https://www.adityashrikrishna.com/ html>head>title>301 Moved Permanently/title>/head>body>center>h1>301 Moved Permanently/h1>/center>hr>center>nginx/center>/body>/html>
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HTTP/1.1 200 OKServer: nginxDate: Mon, 05 Aug 2024 12:43:51 GMTContent-Type: text/html; charsetutf-8Content-Length: 85734Connection: keep-aliveVary: Accept-EncodingVary: Accept-Encoding, Accept-Encoding, Accept-Language, CookieTheme-ID: 647b59be-e261-45ae-bc49-ea043c12c6f6Theme-Name: DarkAccess-Control-Allow-Credentials: trueAccess-Control-Allow-Methods: GET,PUT,POST,PATCH,DELETE,OPTIONSAccess-Control-Expose-Headers: API-Version,X-FRAME-OPTIONS,Content-Security-PolicyContent-Security-Policy: frame-ancestors www.journoportfolio.comAPI-Version: 1.0.11Access-Control-Allow-Headers: widget-api-key,x-file-size,x-requested-with,content-type,accept,origin,authorization,x-csrftoken,user-agent,accept-encodingContent-Language: enX-Frame-Options: DENYX-Backend: defaultX-Varnish: 10393700 6890620Age: 1992308X-Cache: HITX-Cache-Edge: SFOX-Cache-Hits: 187Accept-Ranges: bytes !DOCTYPE html>html langen id>head> title>Aditya Shrikrishna/title> meta http-equivContent-Type contenttext/html; charsetutf-8> meta nameviewport contentwidthdevice-width, initial-scale1, maximum-scale5> link relshortcut icon hrefhttps://www.journoportfolio.com/favicon.ico> meta nametwitter:card contentsummary> meta contentAditya Shrikrishna propertyog:site_name> meta propertyog:type contentwebsite> link relpreconnect hrefhttps://media.journoportfolio.com> link relsitemap typeapplication/xml titleSitemap href/sitemap.xml /> base href/> meta contentAditya Shrikrishna nameauthor> meta prefixog: http://ogp.me/ns# propertyog:title contentAditya Shrikrishna> meta contentAditya Shrikrishna nametwitter:title propertyog:title> meta prefixog: http://ogp.me/ns# propertyog:description contentWriter. Critic. Podcaster. Film Festivals. Occasionally, tennis. Open to write/report/edit/assist/curate all things film criticism, film festivals, culture, sports and their intersection with politics.> link relcanonical hrefhttps://www.adityashrikrishna.com/> meta contentWriter. Critic. Podcaster. Film Festivals. Occasionally, tennis. Open to write/report/edit/assist/curate all things film criticism, film festivals, culture, sports and their intersection with politics. nametwitter:description propertyog:description> meta contenthttps://www.adityashrikrishna.com/ nametwitter:url propertyog:url> meta contentWriter. Critic. Podcaster. Film Festivals. Occasionally, tennis. 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div classprofile-img size-medium shape-round > img classprofile-img__img srchttps://media.journoportfolio.com/users/193950/images/profiles/69756dc4-bfa2-43df-9173-488510f496de.jpg> /div> div classsocial-icons style-colour> a target_blank hrefmailto:aditkrishna@gmail.com aria-labelEmail> i classsocial-icon>svg version2.0 stylefill: #333 !important;>use href#email />/svg>/i>/a> a target_blank hrefhttps://twitter.com/gradwolf aria-labelTwitter> i classsocial-icon>svg version2.0 stylefill: #45b0e3 !important;>use href#twitter />/svg>/i>/a> a target_blank hrefhttps://www.instagram.com/adit.krishna/ aria-labelInstagram> i classsocial-icon>svg version2.0 stylefill: #d51a6f !important;>use href#instagram />/svg>/i>/a> a target_blank hrefhttps://open.spotify.com/show/3C3n21yTzXJJlwiqKCoTPF?sizPVn2JpvRyKe4FFbKN41WA&dl_branch1 aria-labelSpotify> i classsocial-icon>svg version2.0 stylefill: #2db857 !important;>use href#spotify />/svg>/i>/a> a target_blank hrefhttps://mastodon.social/@gradwolf aria-labelWebsite> i classsocial-icon>svg version2.0 stylefill: #b2b2b2 !important;>use href#website />/svg>/i>/a> /div> h1 classlogo> a href/ data-portfolio-title>Aditya Shrikrishna/a> /h1> div classbio data-bio> p>br>Writer. Critic. Podcaster. Film Festivals. Occasionally, tennis. Open to write/report/edit/assist/curate all things film criticism, film festivals, culture, sports and their intersection with politics.br>/p> /div> nav classmenu> ul> li>a target_self class href/>Home/a> /li> /ul> /nav> /div> /div>/div> /div> div classpage idpage-104554> div classcontent idcontent> section classsection data-background-srchttps://media.journoportfolio.com/users/193950/images/94a6544f-43e3-4618-9eca-38314d03d6b3.jpg stylebackground-position: 50% 50%; data-order1 data-id268562 idsection-268562> div classsection__content> div classcolumn data-column1> div classblock block--inline block-text data-definition-nameText data-definition-typegeneric data-id836716 data-order1 idblock-836716 > section classblock-text data-alignmentcenter> div classwrapper--small animate-in data-richtextcontent> p>br/>/p> /div>/section> /div> div classblock block--inline block-heading data-definition-nameHeading data-definition-typegeneric data-id836715 data-order2 idblock-836715 > h1 data-alignmentcenter classheading animate-in>Cinema. Culture. Sports./h1> /div> /div> /div>/section> section classsection data-background-src stylebackground-position: ; data-order2 data-id268563 idsection-268563> div classsection__content> div classcolumn data-column1> div classblock block--inline block-articles data-definition-nameArticles data-definition-typearticle data-id836717 data-order1 idblock-836717 > div classarticles article-image-style-full_bleed data-layoutmasonry data-columns4 data-guttermedium data-default-ordercustom data-autoplay-delay3000 data-slides-per-view3 loop autoplay> div classarticles__wrapper masonry > article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionThe growing pains of south Indian web series data-img-srchttps://media.journoportfolio.com/users/193950/images/a72eefa2-f58e-4d53-a2e0-99d49f9ce01e.jpg data-id2770845 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2770845 idarticle_2770845> a classarticle__inner hrefhttps://www.livemint.com/mint-lounge/art-and-culture/web-series-tamil-malayalam-telugu-kannada-streaming-suzhal-ayali-11715944086949.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/a72eefa2-f58e-4d53-a2e0-99d49f9ce01e_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.15234375%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/a72eefa2-f58e-4d53-a2e0-99d49f9ce01e_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>mint/span> span classarticle__date> • span itempropdatePublished> 18th May 2024 /span> /span> /div> h2 classarticle__title itempropname>The growing pains of south Indian web series/h2> div classarticle__text truncate--5 itempropdescription> Vilangu , a police procedural set in a village near Trichy with its narrative marred by caste, culture and politics, is one of the better web series to come out of south India. In an interview to YouTube channel Galatta Plus last year, its writer-director, Prasanth Pandiyaraj, elaborated on the challenges facing long-form series creators in the south. He mentioned “Mumbai at least three times. He spoke about how he must convey his pitch and story to the local team of an OTT platform, then impre /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-caption‘Cinema shouldn’t be limited to one kind of storytelling’: Don Palathara data-img-srchttps://media.journoportfolio.com/users/193950/images/a672add2-a433-48e6-8f2e-922458ae9aaa.jpg data-id2591614 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2591614 idarticle_2591614> a classarticle__inner hrefhttps://frontline.thehindu.com/arts-and-culture/cinema/profile-don-palathara-cinema-shouldnt-be-limited-to-one-kind-of-storytelling/article67845548.ece relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/a672add2-a433-48e6-8f2e-922458ae9aaa_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.25%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/a672add2-a433-48e6-8f2e-922458ae9aaa_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>Frontline/span> span classarticle__date> • span itempropdatePublished> 14th February 2024 /span> /span> /div> h2 classarticle__title itempropname>‘Cinema shouldn’t be limited to one kind of storytelling’: Don Palathara/h2> div classarticle__text truncate--5 itempropdescription> Even among independent filmmakers, Don Palathara is an outlier. His latest film Family premiered at the International Film Festival Rotterdam in 2023 and travelled to festivals including the Bengaluru International Film Festival, the International Film Festival of India, and the International Film Festival of Kerala. Starring Vinay Forrt and Divya Prabha among a talented ensemble, Family will have a theatrical release on February 23, 2024, and in the run-up to that, director Anurag Kashyap relea /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionSchirkoa: In Lies We Trust Delivers Spectacular Sci-Fi Animation data-img-srchttps://media.journoportfolio.com/users/193950/images/f463d951-b149-4046-8f17-d61e5c3c0814.jpg data-id2591613 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2591613 idarticle_2591613> a classarticle__inner hrefhttps://www.ottplay.com/features/schirkoa-in-lies-we-trust-delivers-spectacular-sci-fi-animation/57173c7836184 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/f463d951-b149-4046-8f17-d61e5c3c0814_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.25%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/f463d951-b149-4046-8f17-d61e5c3c0814_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>OTTplay/span> span classarticle__date> • span itempropdatePublished> 7th February 2024 /span> /span> /div> h2 classarticle__title itempropname>Schirkoa: In Lies We Trust Delivers Spectacular Sci-Fi Animation/h2> div classarticle__text truncate--5 itempropdescription> WE hear snatches of Hindi, maybe a few other languages and then settle on English. Two characters speak on a balcony overlooking a busy road. The animation suggests it is after dusk in a land where it is perpetually dark. The aesthetics suggest a combination of Blade Runner and Dark City, a futuristic dystopia with sprinkles of noir and it is all animated in 2D and 3D using video game engine. Overhead shots of the city and its roads, and car windshield as frame within a frame. Based on his 2016 /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionKiss Wagon review: An animated epic adventure, protean and powerful data-img-srchttps://media.journoportfolio.com/users/193950/images/8951639d-728f-4c56-ae2c-96eb5b363ddc.jpg data-id2591611 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2591611 idarticle_2591611> a classarticle__inner hrefhttps://thefederal.com/film-reviews/kiss-wagon-review-an-animated-epic-adventure-protean-and-powerful-109005 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/8951639d-728f-4c56-ae2c-96eb5b363ddc_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.25%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/8951639d-728f-4c56-ae2c-96eb5b363ddc_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The Federal/span> span classarticle__date> • span itempropdatePublished> 6th February 2024 /span> /span> /div> h2 classarticle__title itempropname>Kiss Wagon review: An animated epic adventure, protean and powerful/h2> div classarticle__text truncate--5 itempropdescription> Midhun Murali’s Kiss Wagon, which premiered in the Tiger Competition at International Film Festival Rotterdam (IFFR) last week, won the Special Jury Award as well as the FIPRESCI (Fédération Internationale de la Presse Cinématographique or International Federation of Film Critics) prize. The Malayalam-English selection from India can be best described as an animated epic adventure film though it is far more than that.br>br>br>It is not an easy task to elaborate what the film is about; it bends genres /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionAnand Ekarshi On Making His Malayalam Feature Debut With The Acclaimed Aattam data-img-srchttps://media.journoportfolio.com/users/193950/images/abe6eb98-824d-4db2-ae98-7f4ac6fe07d6.jpg data-id2471255 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2471255 idarticle_2471255> a classarticle__inner hrefhttps://www.ottplay.com/interview/anand-ekarshi-on-making-his-malayalam-feature-debut-with-the-acclaimed-aattam/1fb017def7328 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/abe6eb98-824d-4db2-ae98-7f4ac6fe07d6_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.25%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/abe6eb98-824d-4db2-ae98-7f4ac6fe07d6_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>OTTplay/span> span classarticle__date> • span itempropdatePublished> 10th December 2023 /span> /span> /div> h2 classarticle__title itempropname>Anand Ekarshi On Making His Malayalam Feature Debut With The Acclaimed Aattam/h2> div classarticle__text truncate--5 itempropdescription> Aattam: The Play is an incisive exploration of the human psyche in the form of a chamber drama. It is part of the programme at the International Film Festival of Kerala.br>br>Anand Ekarshi’s Malayalam feature debut Aattam: The Play had its world premiere at 21st Indian Film Festival of Los Angeles where it won the Grand Jury Award for Best Film. An incisive exploration of the human psyche in the form of a chamber drama, the film had its Asia premiere at Jio MAMI Mumbai Film Festival 2023, was the op /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionMithya review: Athish Shetty shines as a trapped soul in an emotional tug of war data-img-srchttps://media.journoportfolio.com/users/193950/images/f89db1af-b65e-4564-bea1-e414734ae51c.jpg data-id2471254 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2471254 idarticle_2471254> a classarticle__inner hrefhttps://thefederal.com/film-reviews/mithya-review-athish-shetty-shines-as-a-trapped-soul-in-an-emotional-tug-of-war-102058 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/f89db1af-b65e-4564-bea1-e414734ae51c_max-600.jpg stylebackground-position: 50% 50%;padding-top: 86.38838475499092%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/f89db1af-b65e-4564-bea1-e414734ae51c_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The Federal/span> span classarticle__date> • span itempropdatePublished> 1st December 2023 /span> /span> /div> h2 classarticle__title itempropname>Mithya review: Athish Shetty shines as a trapped soul in an emotional tug of war/h2> div classarticle__text truncate--5 itempropdescription> In Sumanth Bhat’s Kannada film Mithya, we are always behind eleven-year-old Mithun aka Mithya (Athish S Shetty). We see what he sees in these moments. Bhat, with his cinematographer Udit Khurana, films Mithya from the back of his head almost all the time. In the very first scene, Mithya is standing perilously close to the door of a zipping train, and we are behind him as he remains still and the background whizzes away.br>br>br>The composition follows a similar pattern — when he arrives at his new ho /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionMia Hansen-Løve: ‘I wanted this film to be austere’ data-img-srchttps://media.journoportfolio.com/users/193950/images/7ff6b3ea-d238-46a6-8c79-7ce7be20b049.jpg data-id2208526 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2208526 idarticle_2208526> a classarticle__inner hrefhttps://lifestyle.livemint.com/how-to-lounge/movies-tv/mia-hansen-l-ve-one-fine-morning-film-111686762196914.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/7ff6b3ea-d238-46a6-8c79-7ce7be20b049_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.15234375%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/7ff6b3ea-d238-46a6-8c79-7ce7be20b049_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>Mintlounge/span> span classarticle__date> • span itempropdatePublished> 15th June 2023 /span> /span> /div> h2 classarticle__title itempropname>Mia Hansen-Løve: ‘I wanted this film to be austere’/h2> div classarticle__text truncate--5 itempropdescription> Time is one of the pillars of Mia Hansen-Løve’s films. We follow characters through changing weathers, years and decades. “All my films deal with passing of time in some way, the earlier films were more obvious in this regard as there were longer stretches in their stories and some films focus on shorter periods,” she says over Zoom. “But the question of time, growth and how we change and how much we remain the same is at the heart of my films.”br>br>Time is fluid in her films. The earlier films lik /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionBiweekly Binge: In the name of the father data-img-srchttps://media.journoportfolio.com/users/193950/images/afc5621c-9691-4698-a97e-2fb8fb43ebc8.jpg data-id1971427 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1971427 idarticle_1971427> a classarticle__inner hrefhttps://www.cinemaexpress.com/english/features/2023/jan/13/biweekly-binge-in-the-name-of-the-father-38731.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/afc5621c-9691-4698-a97e-2fb8fb43ebc8_max-600.jpg stylebackground-position: 50% 50%;padding-top: 59.9609375%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/afc5621c-9691-4698-a97e-2fb8fb43ebc8_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The New Indian Express/span> span classarticle__date> • span itempropdatePublished> 13th January 2023 /span> /span> /div> h2 classarticle__title itempropname>Biweekly Binge: In the name of the father/h2> div classarticle__text truncate--5 itempropdescription> In Charlotte Wells’s Aftersun—streaming on MUBI—Paul Mescal and Frankie Corio play Calum and Sophie, a father-daughter duo vacationing in Turkey sometime in the 90s. He is barely into his 30s. She’s all of eleven. It’s a curious dynamic to the extent that fellow vacationers casually assume they are siblings. Mescal possesses a heavy guttural voice of a coach that does not betray his age, so when he says, “I am her father though” in a thick accent, the teenage traveller is quick to apologize and /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionPushpak at 35: The silence of the clowns data-img-srchttps://media.journoportfolio.com/users/193950/images/bfece88b-6814-498e-9147-5c4ebdbbc1eb.jpg data-id2029914 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id2029914 idarticle_2029914> a classarticle__inner hrefhttps://lifestyle.livemint.com/how-to-lounge/movies-tv/pushpak-at-35-the-silence-of-the-clowns-111669448767948.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/bfece88b-6814-498e-9147-5c4ebdbbc1eb_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.15234375%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/bfece88b-6814-498e-9147-5c4ebdbbc1eb_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>Mintlounge/span> span classarticle__date> • span itempropdatePublished> 26th November 2022 /span> /span> /div> h2 classarticle__title itempropname>Pushpak at 35: The silence of the clowns/h2> div classarticle__text truncate--5 itempropdescription> Vasan Bala’s Monica, O My Darling sent everyone on a spot-the-reference treasure hunt but a rare warm moment in the film is in its bibliographic hat tip—the who’s who of Bala’s likely favourites on an apartment nameboard. It’s warm because one of those names is not like the others. The Indian names make up a certain kind of genre film-makers—Sriram Raghavan, Vishal Bhardwaj, Abbas Mastan. Almost all the names roll off the tongue for even the casual watcher but the very first name might have elud /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionBiweekly Binge: Mothers and daughters in a chamber data-img-srchttps://media.journoportfolio.com/users/193950/images/b26927e1-73a5-443d-9e9e-2b563432e9aa.jpg data-id1971429 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1971429 idarticle_1971429> a classarticle__inner hrefhttps://www.cinemaexpress.com/english/features/2022/sep/21/biweekly-binge-mothers-and-daughters-in-a-chamber-34896.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/b26927e1-73a5-443d-9e9e-2b563432e9aa_max-600.jpg stylebackground-position: 50% 50%;padding-top: 59.9609375%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/b26927e1-73a5-443d-9e9e-2b563432e9aa_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The New Indian Express/span> span classarticle__date> • span itempropdatePublished> 21st September 2022 /span> /span> /div> h2 classarticle__title itempropname>Biweekly Binge: Mothers and daughters in a chamber/h2> div classarticle__text truncate--5 itempropdescription> Two of the best films of 2022 premiered at Venice International Film Festival, followed by showings at Toronto International Film Festival. One is Alice Diop’s first narrative feature Saint Omer which came after several revered documentaries by the filmmaker, and the other is Joanna Hogg’s The Eternal Daughter. The former also won the Silver Lion at Venice.br>br>These two distinctive films share special similarities in the way they use dialogue and sound in addition to the centrality of the relation /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionKummatty: At 59th New York Film Festival, restored classic is reminder of G Aravindan's mastery data-img-srchttps://media.journoportfolio.com/users/193950/images/e7b61886-7467-4bad-8a7c-bf1c439acc98.jpg data-id1431397 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1431397 idarticle_1431397> a classarticle__inner hrefhttps://www.news9live.com/entertainment/regional-cinema/g-aravindan-kummatty-restored-59th-new-york-film-festival-2021-film-heritage-foundation-martin-scorsese-122456 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/e7b61886-7467-4bad-8a7c-bf1c439acc98_max-600.jpg stylebackground-position: 50% 50%;padding-top: 59.9%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/e7b61886-7467-4bad-8a7c-bf1c439acc98_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>News9live/span> span classarticle__date> • span itempropdatePublished> 26th September 2021 /span> /span> /div> h2 classarticle__title itempropname>Kummatty: At 59th New York Film Festival, restored classic is reminder of G Aravindan's mastery/h2> div classarticle__text truncate--5 itempropdescription> In Govindan Aravindans cinema, bogeymen, mystery figures and a stray spectre of a saintly form are common. In Oridathu (1986), set in the late 1950s, a homeless man dissociated from the main plot functions as silent witness to everything that goes down in the village. Electricity has just arrived, and he listens to the news on All India Radio Kozhikode, seemingly the only one in the populace bemused by recent events. In Uttarayanam (1974), the disillusioned Ravi, jobless during the period chara /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionThe making of an international juggeRRRnaut data-img-srchttps://media.journoportfolio.com/users/193950/images/1ef5bec5-e529-4626-8b94-16cf5bb1615c.jpg data-id1889438 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1889438 idarticle_1889438> a classarticle__inner hrefhttps://daily.thesignal.co/p/the-making-of-an-international-juggerrrnaut relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/1ef5bec5-e529-4626-8b94-16cf5bb1615c_max-600.jpg stylebackground-position: 50% 50%;padding-top: 100.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/1ef5bec5-e529-4626-8b94-16cf5bb1615c_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span classarticle__date> span itempropdatePublished> 19th November 2022 /span> /span> /div> h2 classarticle__title itempropname>The making of an international juggeRRRnaut/h2> div classarticle__text truncate--5 itempropdescription> Good morning! A big hello to readers who signed up this week. Welcome to The Intersection, The Signals weekend edition. This week, we talk to the people who made Telugu action epic RRR a runaway box-office hit in the US. Also in today’s edition: we have curated the best weekend reads for you.br>br>If you enjoy reading us, why not give us a follow at @thesignaldotco on Twitter and Instagram.br>br>Ariel Vida is a Los Angeles-based filmmaker and production designer. If you look at her social media, you mi /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionUnderstanding the new ‘pan-Indian film’ data-img-srchttps://media.journoportfolio.com/users/193950/images/7f7cf210-b3ce-4a57-ab54-e4dd38ad2007.jpg data-id1651946 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1651946 idarticle_1651946> a classarticle__inner hrefhttps://frontline.thehindu.com/arts-and-culture/cinema/understanding-the-new-pan-indian-film-rrr-pushpa-baahubali-kgf-the-kashmir-files/article38491663.ece relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/7f7cf210-b3ce-4a57-ab54-e4dd38ad2007_max-600.jpg stylebackground-position: 50% 50%;padding-top: 62.4390243902439%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/7f7cf210-b3ce-4a57-ab54-e4dd38ad2007_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>Frontline/span> span classarticle__date> • span itempropdatePublished> 15th May 2022 /span> /span> /div> h2 classarticle__title itempropname>Understanding the new ‘pan-Indian film’/h2> div classarticle__text truncate--5 itempropdescription> In M. Rajshekhar’s Despite the State, the author meets a man in Bihar who downloads music and films and sells them for ten bucks. He mentions the popular titles—Akhil: The Power of Jua, Heart Attack, Businessman 2, Shivam, Viraat, and The Return of Raju. They are all titles from South India. Businessman 2 is the Hindi dub of Pandaga Chesko and The Return of Raju’s original is Soggade Chinni Nayana. Rajshekhar goes on to write about the popularity of the dubbed version of Telugu and Tamil films s /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionInside labyrinth of Irma Vep: How to make a remake on making of another remake data-img-srchttps://media.journoportfolio.com/users/193950/images/952fdc57-fa62-4dbf-a9de-3fa489808529.jpg data-id1738096 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1738096 idarticle_1738096> a classarticle__inner hrefhttps://www.news9live.com/entertainment/inside-labyrinth-of-irma-vep-how-to-make-a-remake-on-making-of-another-remake-186176 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/952fdc57-fa62-4dbf-a9de-3fa489808529_max-600.jpg stylebackground-position: 50% 50%;padding-top: 75.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/952fdc57-fa62-4dbf-a9de-3fa489808529_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>News9live/span> span classarticle__date> • span itempropdatePublished> 31st July 2022 /span> /span> /div> h2 classarticle__title itempropname>Inside labyrinth of Irma Vep: How to make a remake on making of another remake/h2> div classarticle__text truncate--5 itempropdescription> In How The Picture Moves, Aditya Shrikrishna offers a technical breakdown of recently released movies and shows.br>br>Olivier Assayas flips a pivotal moment in the TV series adaptation of his 1996 film Irma Vep. He flips great many things in the modern version, which is an updated exegesis on the state of art and business of filmmaking but this moment, as it does in the original, stands out.br>br>In the film, Maggie Cheung playing a version of herself, visits René Vidal, the increasingly volatile film /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionNYFF 2021: Why Payal Kapadia's A Night of Knowing Nothing is essential viewing data-img-srchttps://media.journoportfolio.com/users/193950/images/6c47146e-b26a-454a-a267-83b1ea4a1a92.jpg data-id1431396 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1431396 idarticle_1431396> a classarticle__inner hrefhttps://web.archive.org/web/20230326184136/https://www.news9live.com/entertainment/59th-new-york-film-festival-2021-nyff-payal-kapadia-a-night-of-knowing-nothing-cannes-winner-124091 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/6c47146e-b26a-454a-a267-83b1ea4a1a92_max-600.jpg stylebackground-position: 50% 50%;padding-top: 75.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/6c47146e-b26a-454a-a267-83b1ea4a1a92_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>News9live/span> span classarticle__date> • span itempropdatePublished> 4th October 2021 /span> /span> /div> h2 classarticle__title itempropname>NYFF 2021: Why Payal Kapadia's A Night of Knowing Nothing is essential viewing/h2> div classarticle__text truncate--5 itempropdescription> In Payal Kapadias A Night of Knowing Nothing – winner of LOeil dOr (Golden Eye) at Cannes, Amplify Voices award at Toronto International Film Festival and part of the Currents line-up at 59th New York Film Festival – a student union leader in the middle of a passionate night time speech to his friends and fellow students, talks about preserving the past but also safeguarding the future. The line can be obtuse in the best of contexts, but it is succinct in capturing the core of Kapadias work. /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionSuzhal: The Vortex and Vilangu — A tale of two Tamil small-town mysteries data-img-srchttps://media.journoportfolio.com/users/193950/images/c7720c44-dfbc-4fa0-9a2c-caac68cc3dbb.jpg data-id1738094 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1738094 idarticle_1738094> a classarticle__inner hrefhttps://www.news9live.com/entertainment/suzhal-the-vortex-on-amazon-prime-video-india-and-vilangu-on-zee5-a-tale-of-two-tamil-small-town-mystery-shows-180229 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/c7720c44-dfbc-4fa0-9a2c-caac68cc3dbb_max-600.jpg stylebackground-position: 50% 50%;padding-top: 75.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/c7720c44-dfbc-4fa0-9a2c-caac68cc3dbb_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>News9live/span> span classarticle__date> • span itempropdatePublished> 3rd July 2022 /span> /span> /div> h2 classarticle__title itempropname>Suzhal: The Vortex and Vilangu — A tale of two Tamil small-town mysteries/h2> div classarticle__text truncate--5 itempropdescription> In a span of four months, we got two Tamil web series that could be slotted under the genre of small-town mystery. Vilangu, written and directed by Prasanth Pandiyaraj, released in February on ZEE5. Suzhal: The Vortex, created and written by Pushkar-Gayathri and directed by Bramma and Anucharan, released a few weeks ago on Amazon Prime Video India.br>br>The former is smaller in scale in terms of both story and budget. The opposite is true for Suzhal, especially with the pedigree of writers and dir /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionMasters data-img-srchttps://media.journoportfolio.com/users/193950/images/26cf5086-2473-4b99-a911-6dd440dfb657.jpg data-id1375100 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1375100 idarticle_1375100> a classarticle__inner hrefhttps://fiftytwo.in/story/masters/ relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/26cf5086-2473-4b99-a911-6dd440dfb657_max-600.jpg stylebackground-position: 50% 50%;padding-top: 54.1%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/26cf5086-2473-4b99-a911-6dd440dfb657_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>Fifty Two (52)/span> span classarticle__date> • span itempropdatePublished> 26th March 2021 /span> /span> /div> h2 classarticle__title itempropname>Masters/h2> div classarticle__text truncate--5 itempropdescription> Let me tell you a kutty story, a sample of how the arts in Tamil merged into a seamless whole that is the Tamil cinema universe. The Siddhars were wandering mendicants, rebel ascetics who wrote poems of philosophy and dissent. Kaduveli Siddhar wrote Nandavanathil Or Aandi, a folk poem centred on the futility of life. It is about a man who waits ten months for a mud pot, and then manages to break it when he finally receives it. The song’s lyrics were adapted for comic effect by Pattukottai Kalyana /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionBiweekly Binge: Inside Don Palathara’s Cinema data-img-srchttps://media.journoportfolio.com/users/193950/images/d5993327-c19d-4cca-b2dd-ffbb889c4397.jpg data-id1375092 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1375092 idarticle_1375092> a classarticle__inner hrefhttps://www.cinemaexpress.com/malayalam/features/2021/aug/18/biweekly-binge-inside-don-palatharas-cinema-26130.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/d5993327-c19d-4cca-b2dd-ffbb889c4397_max-600.jpg stylebackground-position: 50% 50%;padding-top: 65.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/d5993327-c19d-4cca-b2dd-ffbb889c4397_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The New Indian Express/span> span classarticle__date> • span itempropdatePublished> 18th August 2021 /span> /span> /div> h2 classarticle__title itempropname>Biweekly Binge: Inside Don Palathara’s Cinema/h2> div classarticle__text truncate--5 itempropdescription> Don Palathara’s Santhoshathinte Onnam Rahasyam (Joyful Mystery) premiered at IFFK earlier this year and Everything is Cinema, premiered at IFFR and will release on MUBI on August 21. Both the films have little in common and yet share seemingly coincidental details. Both feature a couple at crossroads, one threatened by an immediate concern and another in its last legs. There is a glimmer of hope in Joyful Mystery, an 85-minute single shot off a dashboard camera. In Everything is Cinema, Chris (v /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionBerlinale 2021: The Girl and the Spider - A waltzing ensemble data-img-srchttps://media.journoportfolio.com/users/193950/images/807b0c41-02a7-4ddd-9a1b-71c9f1bedc4d.jpg data-id1375089 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1375089 idarticle_1375089> a classarticle__inner hrefhttps://www.cinemaexpress.com/stories/columns/2021/mar/03/berlinale-2021the-girl-and-the-spider-a-waltzing-ensemble-23114.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/807b0c41-02a7-4ddd-9a1b-71c9f1bedc4d_max-600.jpg stylebackground-position: 50% 50%;padding-top: 65.0%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/807b0c41-02a7-4ddd-9a1b-71c9f1bedc4d_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The New Indian Express/span> span classarticle__date> • span itempropdatePublished> 3rd March 2021 /span> /span> /div> h2 classarticle__title itempropname>Berlinale 2021: The Girl and the Spider - A waltzing ensemble/h2> div classarticle__text truncate--5 itempropdescription> A spider crawls on Lisas (Liliane Amuat) back and Mara (Henriette Confurius) creates uninterrupted surface from Lisas back, her shoulders, her clothes to Maras hand. They exchange the spider hand to hand in smooth, lyrical motions and then transfer it back on the wall. Its the new Zürcher brothers film, Das Mädchen und die Spinne or The Girl and the Spider, premiering at the 71st Berlin International Film Festival. And just like this smooth transition of movements and energies where there w /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionHow would Satyajit Ray have responded to the pandemic? data-img-srchttps://media.journoportfolio.com/users/193950/images/d4586cd7-01ef-463c-8cd5-6a95512b7872.jpg data-id1386977 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1386977 idarticle_1386977> a classarticle__inner hrefhttps://www.thehindu.com/entertainment/movies/how-would-satyajit-ray-have-responded-to-the-pandemic/article34505496.ece relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/d4586cd7-01ef-463c-8cd5-6a95512b7872_max-600.jpg stylebackground-position: 50% 50%;padding-top: 62.4390243902439%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/d4586cd7-01ef-463c-8cd5-6a95512b7872_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The Hindu/span> span classarticle__date> • span itempropdatePublished> 7th May 2021 /span> /span> /div> h2 classarticle__title itempropname>How would Satyajit Ray have responded to the pandemic?/h2> div classarticle__text truncate--5 itempropdescription> There may be clues in his cinema, which reveals a politically and socially conscious, and often prescient, vision of Bengal, India and humanitybr>br>The Spanish Flu ended in April 1920. Satyajit Ray, India’s most fêted filmmaker, was born a year later, on May 2, 1921. This year marks his birth centenary, as another pandemic ravages the world, its impact particularly harsh on India now more than anywhere else. A question that has arisen over the past year is how cinema will reflect this period. We ha /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionHow Shakun Batra masterfully establishes mise-en-scène in his films data-img-srchttps://media.journoportfolio.com/users/193950/images/320d5efc-bce1-4092-96a0-a02910677fa0.jpg data-id1738098 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1738098 idarticle_1738098> a classarticle__inner hrefhttps://www.news9live.com/entertainment/bollywood/gehraiyaan-kapoor-and-sons-shakun-batra-interconnected-themes-155042 relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/320d5efc-bce1-4092-96a0-a02910677fa0_max-600.jpg stylebackground-position: 50% 50%;padding-top: 69.85294117647058%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/320d5efc-bce1-4092-96a0-a02910677fa0_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>News9live/span> span classarticle__date> • span itempropdatePublished> 22nd February 2022 /span> /span> /div> h2 classarticle__title itempropname>How Shakun Batra masterfully establishes mise-en-scène in his films/h2> div classarticle__text truncate--5 itempropdescription> In Shakun Batras Ek Main Aur Ekk Tu (2012), Rahul Kapoor (Imran Khan), a jobless architect in Las Vegas picks up after his newfound companion Riana Braganza (Kareena Kapoor). A beer bottle on the sidewalk, a candy she flings at him in mock anger followed by a coffee cup in the middle of the road. Rahuls parents brought him up under the compulsion of neatness and tidiness in all their varied meanings. He grew up to become exactly what his parents wanted him to be, learning to iron his socks and /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionWhat Arivu's erasure from Rolling Stone India's cover and story of 'Enjoy Enjaami', 'Neeye Oli' highlights data-img-srchttps://media.journoportfolio.com/users/193950/images/3db0d902-e1e9-4bc4-a08f-5da710b94c71.jpg data-id1375099 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1375099 idarticle_1375099> a classarticle__inner hrefhttps://www.news9live.com/entertainment/arivu-erasure-from-rolling-stone-india-cover-and-story-of-enjoy-enjaami-neeye-oli-highlights-73090.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/3db0d902-e1e9-4bc4-a08f-5da710b94c71_max-600.jpg stylebackground-position: 50% 50%;padding-top: 56.22641509433962%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/3db0d902-e1e9-4bc4-a08f-5da710b94c71_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>NEWS9 LIVE/span> span classarticle__date> • span itempropdatePublished> 25th August 2021 /span> /span> /div> h2 classarticle__title itempropname>What Arivu's erasure from Rolling Stone India's cover and story of 'Enjoy Enjaami', 'Neeye Oli' highlights/h2> div classarticle__text truncate--5 itempropdescription> Songwriter-musician-activist Arivu is at the centre of both the songs that form the anchor for Rolling Stone India’s August 2021 cover story featuring singer Dhee and rapper-recording artist Shan Vincent de Paul. The two are on the cover with Arivu nowhere in sight.br>br>In 1972, Dr Hook & the Medicine Show released their song ‘The Cover of Rolling Stone‘, penned by Shel Silverstein. It parodies the pinnacle coveted by bands then, to appear on the cover of the Rolling Stone magazine and made a famou /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionDhanush: An Actor Poised to Become Indian Cinema's Next Polymath data-img-srchttps://media.journoportfolio.com/users/193950/images/1fe860f5-495c-449a-ab6c-9817ca212321.jpg data-id1375101 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1375101 idarticle_1375101> a classarticle__inner hrefhttps://www.thequint.com/entertainment/celebrities/dhanush-birthday-actor-poised-to-become-indian-cinemas-next-polymath-asuran-karnan-vada-chennai relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/1fe860f5-495c-449a-ab6c-9817ca212321_max-600.jpg stylebackground-position: 50% 50%;padding-top: 52.5%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/1fe860f5-495c-449a-ab6c-9817ca212321_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>TheQuint/span> span classarticle__date> • span itempropdatePublished> 28th July 2021 /span> /span> /div> h2 classarticle__title itempropname>Dhanush: An Actor Poised to Become Indian Cinema's Next Polymath/h2> div classarticle__text truncate--5 itempropdescription> A film critic, after the India premiere of Visaaranai, experienced the kind of disbelief that can be summoned by a truly original film and tweeted, “who is this director Vetrimaaran”. Everybody clamoured to point out that he is a National Award-winning filmmaker. Dhanush, Visaaranai’s co-producer, who won his first of two Best Actor National Award for the director’s Aadukalam in 2011, had lived through much worse – “pigeon-chested paavam who looks like a paanwala on probation” went one gem from /div> /div> /div> /a> /article> article itemscope itemtypehttp://data-vocabulary.org/Article data-typeurl data-img-captionBerlinale 2021: Wheel of Fortune and Fantasy- An ear to the door data-img-srchttps://media.journoportfolio.com/users/193950/images/cefe63ed-f364-40bb-8947-567b73d33300.jpg data-id1401075 classarticle animate-in article-image-style-full_bleed article--padding-small article--box-shadow data-id1401075 idarticle_1401075> a classarticle__inner hrefhttps://www.cinemaexpress.com/stories/columns/2021/mar/17/biweekly-bingewheel-of-fortune-and-fantasy-an-ear-to-the-door-23393.html relnofollow target_blank > div classarticle__inner__img__wrapper> div classarticle__inner__img crop-ratio--nocrop data-background-srchttps://media.journoportfolio.com/users/193950/images/cefe63ed-f364-40bb-8947-567b73d33300_max-600.jpg stylebackground-position: 50% 50%;padding-top: 58.96510228640193%;height:0;> img styleobject-position: 50% 50%; itempropimage data-srchttps://media.journoportfolio.com/users/193950/images/cefe63ed-f364-40bb-8947-567b73d33300_max-600.jpg> /div> /div> div classcontent> div classcontent__inner> div classarticle__meta> span itempropcitation>The New Indian Express/span> span classarticle__date> • span itempropdatePublished> 17th September 2021 /span> /span> /div> h2 classarticle__title itempropname>Berlinale 2021: Wheel of Fortune and Fantasy- An ear to the door/h2> div classarticle__text truncate--5 itempropdescription> Ryusuke Hamaguchis Wheel of Fortune and Fantasy (Guzen to sozo) won the Silver Bear Grand Jury Prize at the 71st Berlinale this year. Over the last year, weve seen an endless barrage of anthologies. Here, Hamaguchi comes up with a three-film anthology that packs magic and coincidence, age and innocence, fellowship and camaraderie to examine tiny nuggets of human behaviour with a canvas larger than what the film seemingly allows. At the centre of the three films are women, followed by conversat /div> /div> /div> /a> /article> /div> div classautoloader idArticleLoadMore data-block-id> Load More /div> div classcontent-modal gallery-modal hidden> div classcontent-modal__modal> img> div classcaption>/div> /div> /div> div classcontent-modal text-modal hidden> div classcontent-modal__modal> button classclose>Close span>✕/span>/button> div classloading> img srchttps://static.journoportfolio.com/public/img/loading.40e3bc4ab652.gif> /div> div classcontent-modal__content> /div> /div> /div>/div> /div> /div> /div>/section> section classsection data-background-src stylebackground-position: ; data-order3 data-id268564 idsection-268564> div classsection__content> div classcolumn data-column1> div classblock block--inline block-heading data-definition-nameHeading data-definition-typegeneric data-id836718 data-order1 idblock-836718 > h3 data-alignmentcenter classheading animate-in>Let's get social/h3> /div> div classblock block--inline block-social-icons data-definition-nameSocial Icons data-definition-typegeneric data-id836719 data-order2 idblock-836719 > div data-social-icons classsocial-icons size-medium style-monochrome alignment-center data-alignmentcenter>a target_blank classanimate-in hrefmailto:aditkrishna@gmail.com aria-labelEmail> i classsocial-icon>svg version2.0 >use xlink:href#email />/svg>/i>/a>a target_blank classanimate-in hrefhttps://twitter.com/gradwolf aria-labelTwitter> i classsocial-icon>svg version2.0 >use xlink:href#twitter />/svg>/i>/a>a target_blank classanimate-in hrefhttps://www.instagram.com/adit.krishna/ aria-labelInstagram> i classsocial-icon>svg version2.0 >use xlink:href#instagram />/svg>/i>/a>a target_blank classanimate-in hrefhttps://open.spotify.com/show/3C3n21yTzXJJlwiqKCoTPF?sizPVn2JpvRyKe4FFbKN41WA&dl_branch1 aria-labelSpotify> i classsocial-icon>svg version2.0 >use xlink:href#spotify />/svg>/i>/a>a target_blank classanimate-in hrefhttps://mastodon.social/@gradwolf aria-labelWebsite> i classsocial-icon>svg version2.0 >use xlink:href#website />/svg>/i>/a>/div> /div> /div> /div>/section> /div> div classfooter idfooter> section classsection data-background-src stylebackground-position: ; data-order0 data-footertrue data-id268561 idsection-268561> div classsection__content> div classcolumn data-column1> div classblock block--inline block-heading data-definition-nameHeading data-definition-typegeneric data-id836713 data-order1 idblock-836713 > h3 data-alignmentleft classheading animate-in>Aditya Shrikrishna/h3> /div> div classblock block--inline block-text data-definition-nameText data-definition-typegeneric data-id836714 data-order2 idblock-836714 > section classblock-text data-alignmentleft> div classwrapper--small animate-in data-richtextcontent> p>Built with a hrefhttps://www.journoportfolio.com/>Journo Portfolio/a>/p> /div>/section> /div> /div> /div>/section> /div> /div> script typetext/javascript> var PUBLISHED true; var PAGE_ID 104554 var PORTFOLIO_CAPTCHA_PUBLIC_KEY 6Lc4J9AZAAAAAE_D0CZHclTobtIsztATjQR1bwYZ; /script> /body>/html>
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