Author Arindam Sen

In the last 20 years, across four feature-length and a handful of short films, US filmmaker Lee Anne Schmitt has presented a critical portrait of American history that grapples with the complex implications of ...

In 1974, critic Lawrence Alloway wrote in an essay that “Artists’ writings serve as self-characterization by providing an index of specific traits and aims, in opposition to the homogenization produced by styli...

On the one hand there was the Sattelzeit, a progressionist view of temporal unravelling, cumulative and linear in character, where history asserted itself onto the present through a continuous shift in social, ...

This conversation took place at Kumar Shahani’s residence in Kolkata on a balmy afternoon in January 2024. Shahani was visibly ailing but the mind fecund as ever. The backdrop of the meeting was a chance encoun...

To begin with, a brief note on the possibilities or impossibilities of film criticism within the ambit of festival reports. I have not written one in over half a decade and, while I continue to skim through a f...

Two programs of Morgan Fisher’s films, presented during the recently concluded 68th edition of the Oberhausen short film festival, occasioned the chance to reflect upon the important position of Fisher within t...

Over a career that spanned nearly five decades, Amy Halpern made non-narrative films of all kinds – formal, poetic, playful, joyous, political and personal. The films can be identified as first person cinema, a...