Culture & criticism at @THRIndia_ @frontline_india Author of On Beauty: The Cinema of Sanjay Leela Bhansali
Mumbai
Joined June 2011
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If @anupamachopra and @baradwajrangan are to be believed, your boy has written a banging book.
Now pre-order: amzn.in/d/7UW5zAc
Amitav Ghosh argued that we must make climate change “thinkable” in art—make art about the catastrophe. Iñárritu goes one step further. He makes a film about the futility of making art that renders climate change thinkable.
On Digger, satire & hope.
frontline.thehindu.com/colum…
Notes from this year’ Pujo—the charged atmosphere, divisive politics, nationalist themes, a tragic stampede, and the heady cocktail of faith and consumerism at the heart of it all.
frontline.thehindu.com/colum…
Reckless, messy, moral, turgid, forcefully stylish, and deeply rewarding, Dorothy has only expanded in my mind in the weeks since I’ve watched it.
Reviewed it, with spoilers. It is now streaming on Netflix.
hollywoodreporterindia.com/a…
On Pujo—the commercial, the faithful, and the tragic.
Counter culture column for @frontline_india
frontline.thehindu.com/colum…
Prathyush Parasuraman retweeted
“Satire is powerful when there is an inversion of power, when the powerful are reframed as meek, pathetic and silly”.
@kaagazkafool
@frontline_india
#counterculture
Prathyush Parasuraman retweeted
“Pakeezah mere gale ka phanda
ban gaya hai,” Kamal Amrohi wrote in a letter.
A Tale of Two Pakeezahs—the film, shot over fifteen years; and the making of the film.
hollywoodreporterindia.com/f…
Prathyush Parasuraman retweeted
As FHF's’s 4K restoration of Kamal Amrohi’s timeless classic 'Pakeezah' (1972) premieres internationally, Prathyush Parasuraman in The Hollywood Reporter India explores the painstaking restoration of this cinematic masterpiece.
hollywoodreporterindia.com/f…
“Pakeezah mere gale ka phanda
ban gaya hai,” Kamal Amrohi wrote in a letter.
A Tale of Two Pakeezahs—the film, shot over fifteen years; and the making of the film.
hollywoodreporterindia.com/f…
Within two months, on 31 March 1972, Meena Kumari passed away.
This would be the last film of hers that would release while she was alive, cementing her reputation of “Tragedy Queen”.
Prathyush Parasuraman retweeted
It’s done, brew.
Felt something resembling nostalgia, but also mourning watching Salman Khan on Koffee With Karan.
hollywoodreporterindia.com/r…
It’s done, brew.
Felt something resembling nostalgia, but also mourning watching Salman Khan on Koffee With Karan.
hollywoodreporterindia.com/r…
Prathyush Parasuraman retweeted
Gearing up for Jailer 2, here, I make the case for Nelson as Tamil cinema’s most distinctive, unserious auteur.
hollywoodreporterindia.com/f…
Prathyush Parasuraman retweeted
"Many filmmakers keep tussling their auteurial instincts with audience intrigue that demands a level of flattening fanfare."
hollywoodreporterindia.com/f….
Gearing up for Jailer 2, here, I make the case for Nelson as Tamil cinema’s most distinctive, unserious auteur.
hollywoodreporterindia.com/f…
“AISA’s core group sleep at different places. “We don’t go to our homes, offices, campuses or even the areas we usually visit. We switch off our phones whenever possible and only emerge suddenly for protests.””
Spent a day in detention with AISA activists Anjali and Neha Bora. Here’s how it unfolded:
newslaundry.com/2026/10/12/a…
Prathyush Parasuraman retweeted
Quite a few times this year, I had a feeling that I was not watching a movie, but a string of montages slapped together. Neither tension, nor foreplay—just pure action.
On the rise of the montage. Counter culture column, for @frontline_india
frontline.thehindu.com/colum…
