Sreehari Nair wishes to write about that which is in the cultural air but absent from trending lists. You can e-mail the author at sreeharin@rediff-inc.com
'We feel thrust into a motion picture that has all the makings of a carnival but no real fireworks,' Sreehari Nair notes after watching Malik.
'If questioning and dethroning hierarchies is your primary motive, why not put an end to the practice of announcing your shining star, your box office draw, in big flaming letters and mentioning everyone else's name in small font at the bottom of the screen?' asks Sreehari Nair.
'Tamhane's densely composed shots achieve what a vacuously whizzing camera seldom does.' 'Like those Renaissance Paintings in which a bewitching lady is shown posing for a portrait, and daily life plays out in a corner unruffled, Tamhane's static frames have a hundred interesting things happening within them,' observes Sreehari Nair.
Amit Mistry was a wicked actor, someone who could chance a broken arm, who could take deep dives, who could ram his head into walls, all without bothering about the outcome. And, as with that closing bit, the knowledge of where he might have arrived at eludes us now, observes Sreehari Nair.
Despite its stiffness, in Aarkkariyam, a supernatural glow does shine out of the ordinary.
With Joji, Dileesh Pothan has found a way, once more, to use everything he has learnt to further push the boundaries of his art, observes Sreehari Nair.
'I might in the future step out of a Dileesh Pothan movie not completely satisfied, but content I'll be in the knowledge that our greatest living film-maker had failed striving to be something more than just an auteur,' notes Sreehari Nair.
'Of all artists who openly support the current political dispensation, she is far and away the finest,' argues Sreehari Nair. 'With the exception of perhaps Tabu, no Indian actress has done more to extend the range of the feminine mystique in Hindi cinema.'
20 years ago this week, India and Australia played one of the greatest Test matches in cricket history. Sreehari Nair relives the sound and the fury of that unforgettable game at the Eden Gardens.
The curse of stardom, especially in a country like India -- which wants its Gods to be tidy and punctilious -- is that stardom forces you to stop exploring the frozen sea inside you, and instead inspires you more and more to perform out of a small puddle, observes Sreehari Nair.
If you think the film is gutsy, you are simply being blind to the truth that the whole men-are-worthless slant is saleable right now, argues Sreehari Nair.
The difference between watching a movie on a laptop in your apartment and watching it on a big white screen is almost spiritual, notes Sreehari Nair.
Padmarajan's Thoovanathumbikal has become a part of Malayali mythology, just as its maker himself now possesses mythological status.
Criminal Justice: Behind Closed Doors is not a great show, but an efficient one, notes Sreehari Nair.
To an award show that's famous for honouring artists belatedly, we have sent as our official entry one of our major film-makers's weakest work yet, feels Sreehari Nair.
... And sometimes, that's enough, says Sreehari Nair.
What Director Mahesh Narayanan captures perfectly in C U Soon is the texture of our online conversations, observes Sreehari Nair.
'It's also a movie-crazed kid's idea of a great time,' discovers Sreehari Nair.
All through Moothon, you can sense Mohandas trying hard to empathise with her characters; I just wish she was interested in them, declares Sreehari Nair.
'It's a performance that puts the Bachchan hysteria to shame,' observes Sreehari Nair.
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