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Hindustan Times
3 days ago
- Entertainment
- Hindustan Times
Varun Grover's short film Kiss turns cinema into a mirror for introspection
Directorial debuts are special, where you have an artist finally getting a chance to say something close and important to them as a person. That Kiss is lyricist and writer Varun Grover's first film (he made this before All India Rank) informs the viewer of the subject matter that has mattered to him at some point. (Also read: All India Rank movie review: Varun Grover makes a tender, crowd-pleasing directorial debut) The titular kiss here is between two men. At first, we only hear the sound of the sloppy lips against one another. This is unnecessary, as per the members of the censor board (Shubhrajyoti Barat and Swanand Kirkire). These two middle-aged men discuss with the young director Sam (Adarsh Gourav) about the point of keeping this scene. 'Kyu ka jawab koi artist kya dega, sir (Why will artists explain why)?' he asks. A post shared by MUBI India (@mubiindia) But there's a catch, as the three men rewatch the scene again to record how long this kiss lasts. For each one of them, the time stamp is different, ranging from 28 seconds to above 2 minutes. Why is this happening? Kiss then takes the opportunity to seek an answer to this very question, revealing how each one of them is bringing their own subjectivity into the way they observe, process, and express. Kiss is a film about censorship, which wants to interrogate the faces behind the regressive and draconian rules that curtail artistic expression. The ones which infantilise the audience with huge 'smoking kills' warnings and cutting scenes of films that are meant for adults. Kiss is also about cinema becoming a sort of medium for catharsis and introspection. We come to films with our own prejudices and opinions. The point is whether the darkness in the room allows us the space to unlearn and unpack some of those deep-seated notions of love and life. Packed within 15 minutes, Kiss pulsates with ideas and questions that might feel a little overpowering for its own sake, but the sincerity sticks. It is this sincerity and concern that makes Kiss stand out amid the disarray of the current crop of films that is being produced by the Hindi film industry at large. Take, for instance, the emergence of the hypermasculine figure in all his casual rage and unchecked violence. It is all in the service of rage, sidestepping nuance and empathy so casually. The man will kiss and the man will kill. That a short film like Kiss is about men making love is a step taken ahead, daring to ask (and yield) what might be the dichotomy after all. I have a feeling Varun Grover has more stories to tell. Kiss is available to watch on Mubi India.
Hindustan Times
20-05-2025
- Entertainment
- Hindustan Times
Sharmila Tagore's vintage photo from Satyajit Ray's film sparks nostalgia after her Cannes 2025 appearance; take a look
This year's Cannes red carpet may have been criticised for its lack of spark, thanks in part to a maze of evolving style rules. But all it took was a moment — two legendary women walking side by side — to remind everyone what true star power looks like. Veteran icons Sharmila Tagore and Simi Garewal made a rare joint appearance at the Cannes Film Festival 2025 on Monday evening, drawing instant attention and admiration. The occasion? The screening of Satyajit Ray's 1970 Bengali classic Aranyer Din Ratri (Days and Nights in the Forest), which was showcased as part of the Cannes Classics section. The film's 4K restored version, led by director Wes Anderson over six painstaking years, marks a significant cinematic revival — and it brought two of its most memorable muses back into the spotlight. Tagore, known for her grace and poise both on and off screen, chose a rich green saree for the evening, accompanied by her daughter Saba Pataudi, who wore a sunshine-yellow ethnic ensemble. Simi Garewal, effortlessly elegant as always, appeared in a pristine white gown by Indian couture label Karleo — staying true to her signature style. On the red carpet, the two were warmly welcomed by Wes Anderson himself, a long-time admirer of Ray's cinematic genius. In a quiet but powerful moment, the past and present of Indian cinema met the gaze of international film lovers, and the effect was electrifying. The post quickly went viral, with one user commenting, 'That's how one needs to dress up at Cannes — such royalty.' Another added, 'Finally, the right representation of Indian cinema! Full of grace and talent.' Reactions online were filled with praise and reverence. 'Two jewels,' read one comment. 'Appropriate slay!' said another. For many, it wasn't just about the fashion or the film — it was about a moment of cultural pride. Adding to the nostalgia, Mubi India shared a behind-the-scenes image of Tagore from the original shoot of Aranyer Din Ratri, sending fans into an emotional spiral. As fleeting trends and fashion fads swirl around the Croisette, the appearance of Tagore and Garewal reminded the world that real style has nothing to prove. It simply arrives — calm, luminous, and unforgettable.
