PHOOLAN (TIFF 2026) – Review by Valerie Kalfrin

Newcomer Sneha Kumari is fiery and magnetic as teenage Robin Hood-style outlaw Phoolan Devi in Phoolan, a biographical drama focusing on forty-eight hours where the future Indian politician and two colleagues struggled to evade capture during the siege of a tiny village. Inspired by Devi’s 1996 autobiography, Phoolan fills in the early years of India’s “Bandit Queen,” who in the film takes on a leadership role in an armed gang that initially kidnaps her. Having learned to shoot, she attacks rapists and brutal landowners, returning deeds for property to the lower castes, who cheer her for her mercy. The film opens as seventeen-year-old Devi hides her hair under a turban, scurrying with two colleagues away from police trying to flush them out of hiding. She’s wanted for killing at least twenty men, and thousands trying to capture her are told her gang is agile, like dragonflies. She’s seven feet tall. She’ll castrate you before killing you. (That much, at least, is true.) Phoolan is an effective contained thriller that serves as an intriguing introduction to a fascinating woman.

Read more

WEEK IN WOMEN: Payal Kapadia’s ALL WE IMAGINE AS LIGHT on Blu-ray and DVD – Brandy McDonnell reports

Indian writer-director Payal Kapadia’s acclaimed fiction-feature debut film All We Imagine as Light will be released July 22 on Blu-ray and DVD as part of The Criterion Collection.

Read more

PINCH (Tribeca 2025) – Review by Valerie Kalfrin

An aspiring travel blogger feels the pressure when she fights back against a creeper in Pinch, director Uttera Singh’s propulsive feature about expectations, consequences, and how much a person is willing to take. With cutting dialogue and flashes of humor that make us feel as if we know these characters, Pinch proves vastly entertaining, with rich performances, rhythmic music, and a colorful mise-en-scène. Pinch skillfully conveys the pinch we all can feel from expectations and power, and the pushback when we decide enough is enough.

Read more

SISTER MIDNIGHT – Review by Alexandra Heller-Nicholas

Exploding off the screen in a burst of primary colors and post-punk anthems, Sister Midnight is as bold, original and unapologetic as the woman’s whose story it tells. Uma (Radhika Apte) arrives in Mumbai as the just-married pre-arranged bride to Gopal (Ashok Pathak), a young man clearly neither ready for nor interested in marriage. The culture shock of her new life pushes Uma to find ways of coping, some healthy – she gets a job as a cleaner – and some distinctly more untraditional. Embracing her animal self in ways both metaphorical and literal, Uma leaves polite society in her wake as she finds a new, more satisfying way of being in the world.

Read more

SANTOSH – Review by Jennifer Green

We meet Santosh (Shahana Goswami) just as her husband Raman has been killed while on duty for the local police. In one of the next scenes, the camera watches her, head bowed, as her parents and in-laws argue over who will take care of her now. She’s not deciding her future, they are. When she’s offered the opportunity to “inherit” Raman’s job in what’s called a “compassionate appointment,” drawing a salary as well as widow’s compensation and an apartment in the deal, she jumps on it.

Read more

MOVIE OF THE WEEK September 13, 2024: GIRLS WILL BE GIRLS

Girls Will Be Girls isn’t the first movie to tackle the complexities of growing up, and it certainly won’t be the last. But writer/director Shuchi Talati approaches the ultra-relatable subject matter with such a delicate touch that it makes her story of a teen coming of age in 1990s India feel fresh and new. Simultaneously, it comments thoughtfully on the policing of girls and women who dare to flout convention and express themselves.

Read more

GIRLS WILL BE GIRLS – Review by Jennifer Merin

Girls will be Girls is Indian director Shuchi Talati’s narrative feature about Mira, a smart but naive teenage girl who is trying to figure out what being a woman is all about. The film follows the tremendous turmoil in the emotional life of this ‘everygirl’ as she tries to balance the expectations everyone has for her with her own curiosity and eagerness to explore her body and understand the role she is to play as she enters adulthood. There’s good story aplenty here and the performances are excellent  — and, although the film is Indian in origin and reflects Indian culture, Girls will be Girls is universally relatable.

Read more

THE UNDERBUG (Slamdance 2023) – Review by Alexandra Heller-Nicholas

It’s the evening before Independence Day in India, an event that plays a significant although subtle backdrop to the events that unfold in Shujaat Saudagar’s gripping supernatural chamber piece The Underbug. While the radio talkback shows that pepper the film in the background feature a steady flow of callers chatting with the host about what “freedom” means to them, we have already, at the outset of the film, learned that not everyone is feeling so celebratory. Riots have broken out with terrifying violence permeating some areas, and people are warned to stay indoors.

Read more

FIRE IN THE MOUNTAINS – Review by Jennifer Green

It would be hard not to be affected by Fire in the Mountains‘ dire story of one woman’s personal struggles in a Himalayan village. Embodied within her story are larger themes, clear but crafted in subtle and realistic ways, about a woman’s place in her world and the simmering conflict between traditional and modern India. Set in a beautiful area touted as the Switzerland of India for its spectacular Himalayan views, the film contrasts that natural beauty with the scarcity and hardships of its villagers.

Read more

KAALI KHUHI – Review by Alexandra Heller-Nicholas

Kaali Khuhi is a horror delight for those willing to open their mind to genre entries that fall outside typical Western fare. Starring an impressive Riva Arora as Shivangi, she is a young child at the heart of the film’s drama and its unlikely heroine. The film begins as her grandmother falls ill, her distraught father taking Shivangi and her unimpressed mother to the small village where the old woman lies ill. Almost instantly, through her newfound best friend Shivangi discovers that the village is riddled with dark secrets, all of which lead to a mysterious, spooky room on the top floor of her grandmother’s home, marked by the presence of the ghostly, ghastly spectre of a girl around her own age marked by a signature red dress.

Read more