The Press Club of India reiterates that press freedom is an essential requisite in a democracy.

By Meher Pestonji. Can poetry halt war?

By Ajith Pillai. Much of my free time between the age of thirteen and twenty was spent in the neighbourhood park with a group of friends. We called ourselves the ‘Crime Syndicate’ .

Author Anne Lamott praised the work effusively: “I love this book so much—the wisdom, the welcome, the quality of Padma’s writing, the depth of her shared experiences, and, oh my God, the recipes. This book makes me feel as if she is gently and boldly cooking right beside me,”

By Ajith Pillai. As a film, Vivesini is remarkable for having no villain or dark embodiment of evil to lure unsuspecting victims. No diabolical hypnotist puts the characters through a psychotic, mind-numbing, illusory and chaotic trance.

Designer Aneesh Bhoopathy and the visual revolution behind Mamdani’s historic win: The mood drew heavily from iconic New York visuals: Taxicab yellow, MetroCard, primary colours, bodega awnings — stuff people are familiar with in the New York street.

By R Kalpana. Inspired from the travails of the real story of Manathi Ganesan, national kabaddi player, who won the gold medal for India at the Japan Olympics, this film brings to life the horrifying events in a player’s hard and heady journey to success.

By Jesu Rethinam and Vijayan MJ. On November 5 this year, fisherwomen across India and the world celebrated the first International Fisher Women’s Day (IFWD) — a day not born in the corridors of institutions, but on the sands of Valiyathura, Kerala, amid the voices of working women who mend, dry, sell, and defend fish and life itself.

By Meher Pestonji. Two huge paintings – MF Husain’s ‘The Last Supper in Red’ and ‘The Last Supper in Blue’ – face opposite walls of a softly lit gallery, a long, slim table overladen with fruit between them. Another sparse table with two chairs for gallerist Dadiba Pundole and art historian Ranjit Hoskote, face a select audience of art connoisseurs.

By Shamya Dasgupta. An idealist. A rebel. A genius filmmaker. The resurrection of Ritwik Ghatak.

By Amit Sengupta. Then something like a smile passed fleetingly over what had once been her face.

By Benjamin Joseph. This is not cinema that seeks empathy—it demands confrontation, defies simplicity.

By Amit Sengupta. The happiness she feels every time she knows he is near, and the correspondence, the letters they exchange over time, makes the bonding stronger. The final scene, when he leaves Buenos Aires and she says goodbye to him at the train station, is of absolute love — a different kind of love.

By Amit Sengupta. So what is that she is forever holding back and why?

By Ratna Raman. ‘Mimosa pudica’ is identified as feminine and the traits of ‘lajja’ or ‘pudica’ become a pattern of behaviour associated with the female gender. Lajjawati is a woman endowed with shyness or ‘laaj’, who can be easily discomfited or embarrassed. In Tamil, it is known as ‘totta-shurungi’ which translates into English as that which would shrink upon touch.

By Huneza Khan. And yet, Arundhati Roy allows a sliver of something softer. Tenderness flickers beneath anger and unguarded defiance. Butterflies stirred inside me.

By Ganpy Nataraj. Their Grammy-submitted third album bridges time, tradition, and transcendence — reaffirming why Agam remains India's most progressive rock band.

By Uttara Shidore. To me, drawing these patterns feels like a silent prayer—healing, meditative, and cathartic.

By Suresh Nautiyal Greenananda. Each beat of the dhol, swirl of the ghagra, and chant of ritual song conveys not merely performance, but a declaration of life, resilience, and aesthetic celebration.

By Purnima Chakraborti. Feminist Street Theatre: The Rhythms of Resistance. The sense of an urgent need for change is skilfully conveyed to the reader through photographs, quotations from plays, and narratives about performances.