Maisha Islam Monamee

The first time you watch it, it feels like a love story with a quirky adventure at the start. But the more your own life begins to scatter into contradictions and compromises, the more Imtiaz Ali’s world starts sounding familiar.

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.

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.

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.