Movie Review | 'The Namesake': Modernity and Tradition at a Cultural Crossroads
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Mira Nairâs âThe Namesakeâ conveys a palpable sense of people as living, breathing creatures who are far more complex than their words might indicate.
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Ronnie Screwvala, executive producer of The Namesake, thinks director Mira Nair has bettered the Jhumpa Lahiri novel.
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This stage version of Kurt Vonnegutâs antiwar 1969 masterpiece faithfully retains the novelâs pivotal moments. But woe to the spectator unfamiliar with the material.
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Director Mohit Hussain chooses a contemporary subject to narrate the story of his debut film.
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The surfaces of Cao  Hamburger's fine film, "The Year My Parents Went on Vacation"  (O Ano em Que Meus Pais Sairam de Ferias) are clean and concise  and filled with keen observations about day-to-day life in a  multiethnic quarter of Sao Paulo in 1970. This allows the  director all sorts of opportunities to explore the rich subtext  of his film -- themes about alienation, community and a life in  exile.
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Like father like son: exploratory variations on that old saw are the thematic heart of the Argentine filmmaker Daniel BurmanÂs ÂFamily Law.Â
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One film has an oblique ending that's left some viewers dissatisfied and others floored by its profundity. The other features a slowly developing plot and a brutal, operatically violent finale.
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Harry MosesÂs entertaining documentary portrays the debate between connoisseurship and science as a culture war.
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One of the big lessons of becoming a father is that you no longer see yourself as the sole protagonist of your movie.
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Aesthetics versus storytelling: as much as anything, that is the issue that defines the 45th New York Film Festival.
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Tony Karon on how the Zidane saga reveals the strains of the continent grappling with multi-culturalism
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A profound and affecting old play about World War I offers a portrait of men in combat, without polemics
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To be born in a filmy family and then being raised in the perpetual world of cinema is not much of news. But when the   familyÂs surname reads as ÂKapoorÂ, then, it instantly makes a whole world of difference.
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Director Mira Nair&#39;s (Monsoon Wedding, Kama Sutra: A Tale of Love) modern take on William Makepeace Thackeray&#39;s 19th century novel is an intriguing, romantic and lavish feminist romp into material ambition, snobbery and class division.
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The film does, in a way, remind us of the old one.
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Two films tackle a subject that Hollywood usually prefers to avert its eyes from
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Daniel Day-Lewis gives a towering performance in a unique film about idealism and greed in the American West