MK Raghavendra

MK Raghavendra is a Bengaluru-based film/literary scholar, theorist, critic and writer who had, till 2016, authored six volumes on cinema, and contributed to numerous newspapers and periodicals in India and outside. He received the Swarna Kamal, the National Award for Best Film Critic in 1997. He is the co-founder of the film journal ‘Deep Focus’; the founder-editor of ‘Phalanx’, an online journal dedicated to debate; and a member of both FCCI and FIPRESCI. He has been a member of the jury for various international film festivals as well as for the Indian Panorama (twice) by the government of India.
  • Iss. IX

    Cosmopolis

    David Cronenberg is the greatest filmmaker in the English-speaking world, who has been continuing to make provocative and deeply thoughtful films when other claimants to the title like David Lynch, Atom Egoyan and Quentin Tarantino have been in decline. Several factors come to Cronenberg’s assistance and one is his ability...
  • Certified Copy

    Certified Copy

    Abbas Kiarostami is the best known of Iranian filmmakers and it will not be out of place to assert that he put Iranian cinema on the world map. Yet, a careful viewing of his films raises questions about the validity of his methods. To put is plainly, Kiarostami’s best...
  • Iss. VI - The Long Goodbye

    The Long Goodbye

    Robert Altman’s The Long Goodbye (1973) – based on a novel of the same name by Raymond Chandler – belongs to a genre called the ‘hard-boiled detective story’, which may be regarded as a sub-category under noir and includes films like Huston’s The Maltese Falcon (1941) and Polanski’s Chinatown (1974). The genre has been accorded recognition as...
  • The Dark Knight Rises

    The Dark Knight Rises

    Review – The Dark Knight Rises I must admit that among America’s superheroes, I have a special fondness for the Batman. This is not only because he does not sport America’s colors as Superman and Spiderman do and wears stranger attire but also because the idea of a billionaire industrialist...
  • The Cabin in the Woods

    The Cabin in the Woods

    Although The Cabin in the Woods is nominally a teen horror film in the mold of Sam Raimi’s The Evil Dead (1981), it not only uses another kind of narrative – perhaps consciously derived from The Truman Show (1998) – to frame itself but also invokes whole sub-categories from the horror genre to assume the...
  • Talk to Her

    Talk to Her

    The story of Talk to Her does not need retelling – especially since it has been so widely seen but it is divided into three major segments pertaining to the three key relationships in the narrative. The first segment pertains to the relationship between Benigno, a male hospital nurse...
  • The Turin Horse

    The Turin Horse

    The Turin Horse Among the various elements of camera style, the long uncut sequence has a way of getting attention for itself. Originally, the device was a constituent of mise en scène or the articulation of cinematic space (as opposed to montage, which is the articulation of time). Where...
  • The Master

    The Master

    Paul Thomas Anderson is not an easy American filmmaker to characterize but his work is perhaps best understood as an American response to European art cinema of the post-war years. Classical Hollywood cinema or studio filmmaking from the 1920s onwards has insisted on a plot which is driven by...
  • The Tree of Life

    The Tree of Life

    Terrence Malick, one of America’s most respected filmmakers, first attracted attention through Badlands (1973) a film very much in the same mold as Arthur Penn’s Bonnie and Clyde (1967) and Robert Altman’s Thieves like Us (1974) in that it is about a young couple going on a robbery spree in the depression era and eventually...