Maisha Islam Monamee

Guillermo del Toro has spent most of his artistic life circling that question, and his new cinematic adaptation finally dives into it with both hands. It arrives like a long awaited confession. The result is a film that is lush, wounded, often brutal, and strangely hopeful, a vision that honours Shelley’s philosophical bones while draping them in del Toro’s unmistakable flesh.

The decision to hold Hasina accountable is not merely judicial but also personal.

Financial sanity in our twenties is not about becoming a finance bro overnight or rejecting every impulse purchase that brings us joy. It is about building a system that can survive our bad weeks, unexpected expenses, and the constant oscillation between “I am going to be rich” and “why is everything so expensive?”

In an industry often content to either idolise or invisibilise women, Nair managed to carve a cinematic language that neither glorifies nor redeems them. She allows them to take up space, to be complicated, to have appetites.

It has become almost fashionable for companies to claim they are using AI. Every boardroom, every quarterly report, every strategic offsite seems to revolve around the same language of transformation.

SRK is not just the last of the superstars because of what he has achieved, but because of how he has done it. In an era where stardom was built on distance, he created intimacy.

It is a clever premise for a modern romance as a data-driven Delhi businessman finds his match through an algorithm, only to realise that love, unlike code, cannot be debugged.

They emerge from social injustices, unfulfilled desires, and forgotten histories, and in their persistence, they remind us that the supernatural is often an allegory for the very real.

Last week’s Louvre heist, €88 million worth of jewels gone in minutes, reminded us why heist stories captivate audiences. They are a blend of tension, intellect, and style: a world in which every move counts, every second is choreographed, and every character has a role that feels indispensable.

At the heart of "Mohabbatein" lies a cinematic optimism that feels almost extinct today. There was something beautifully naive about its conviction that love, not logic, not rebellion for rebellion’s sake, but pure, unfiltered love, could soften even the harshest hearts.

We treat industrial fatalities as background noise because our hearts have been numbed by repetition.

Cinema has always been a mirror, but particularly in the last decade, it has started holding that mirror at a rather flattering angle. The reflection now has a bit more nationalism, a bit less nuance, and sometimes, an entire political manifesto playing in the background. The trailer for "The Taj Story", which asks whether the Taj Mahal might once have been a temple, does not merely invite curiosity; it stages curiosity as corrective history. It is the newest actor in a growing ensemble of movies that treat doubt like doctrine and cinema like a courthouse. And while we once saw filmmakers wrestle with moral ambiguity; in present times, the only ambiguity lies in whether you are watching entertainment or an election campaign.

Rom-coms tell us that even in the chaos of real life, some things are beautifully predictable. The same misunderstandings, the same meet-cutes, the same last-minute airport chases somehow never get old.

They say you cannot see the world in a day, but they clearly have not been to the British Museum. After five hours of exploration, I came out questioning three things: time, empire, and how exactly one steals a whole moment without anyone noticing.

For Gen Z students who have grown up navigating both online classes and algorithmic chaos, learning smarter isn’t about working harder or longer. It is about using the right tools with the right mindset.

Despite flaws, this is a milestone in the reluctant evolution of Bollywood's conscience

The new season begins back in the mortal world, where Arisu and Usagi are living as a married couple, supposedly free of the horrors that nearly consumed them. Their peace, however, does not last. Usagi, still haunted by her father’s absence, becomes vulnerable to the manipulations of Ryuji Matsuyama, a researcher obsessed with proving Borderland’s existence.

Plenty of shows and movies capture the exact same feelings that hooked us on TSITP—so consider this a fan-to-fan guide to what to watch next. Each of these picks delivers a flavor of TSITP, whether it’s the romance, the setting, or the emotional gut punches we secretly live for.

What remains fascinating is how the aesthetics of Durga Puja on screen often mirror the aesthetics of cinema itself. Both are public spectacles designed to overwhelm the senses, to invite immersion and disbelief. A pandal is not unlike a film set, meticulously crafted, temporary, and destined to dissolve after a few days.

"The Ba***ds of Bollywood" arrives like a party that knows it is both entertaining and dangerous to attend. It is gleefully loud, crammed with cameos and inside jokes, and built out of the familiar ingredients of commercial Hindi cinema. At the same time, it repeatedly lets loose sharp, uncomfortable flashes that refuse to be smoothed over. Watch it as a satire and you will laugh often. Watch it as an indictment and you will feel the edges. The series wants to do both things at once, and that ambition is its central thrill and also its chief flaw.