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  • The Day Shall Dawn

    The Day Shall Dawn

    ★★★★

    a more than worthy precursor to titash ekti nadir naam, which is an obvious (though neither necessary nor the only) point of comparison, and while there's certain shots, cuts and a palpable anger -- most noticeable in the tragic subplot involving a fisherman ganju and his mute mother -- that echo ghatak, the film's tone, register and a gently lyrical record of a dying way of life more closely mirror mallabarmana's novel (on which ghatak's film is based) than ghatak's…

  • Rajnigandha

    Rajnigandha

    ★★★★½

    vidya sinha's deepa, one of indian cinema's quietly indelible women. a portrait intimately sketched and performed, of comfort in solitude, of conversation most free when in bed with a girlfriend joking about being a substitute for her husband, of messy, uncertain, yet gloriously unfettered dreams crashing and turning against the two men in her life. basu chatterjee is no stranger to friendly, feel-good narratives and resolutions masking uneasy contradictions, but this one comes through with a force and cohesion unmatched in his oeuvre.

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  • Throw Down

    Throw Down

    ★★★★½

    material that's exceedingly familiar (even ignoring the kurosawa tribute), imbued at every strange turn with a rare surreal beauty and visual expressiveness that's through the roof. overwhelming.

  • Rangeela

    Rangeela

    ★★★★

    that climactic embrace -- and the little lovers' tiff leading up to it -- is pure magic.